YAMASHIRO AYAnoKOJI School

 AYANOKOJI are similar to SANJO. SANJO and GOJO smith lines were 
 generally the feeder-source. KO-MOKUME HADA. KO-CHOJI KO-MIDARE.
 Double-petal CHOJI.  The school is renowned for refined beauty.
___________  
SADATOSHI AYANOKOJI Founder JO-EI 1232     ARIKUNI HO-JI 1247
    |_______________________ ________________________ __________
____|____                ___|____                ____|____      |
SADATOSHI SHO-O 1288     SADANORI SHO-AN 1299    SADAYOSHI      |
    |___________         ___|____                  KO-AN 1278   |
____|___     ___|___     KUNINOBU KEM-MU 1334                   |
SADAYASU     IYEYASU                                            |
 KO-O 1389    TEI-WA 1345                                       |
     _____________ _________________________ ___________________|
____|___       ___|___                   ___|____          
IYETOSHI       SADAIYE EI-NIN 1293       SADANARI(1) KO-AN 1278
 EI-NIN 1293   ___|_____                 ___|____  
               SADATSUGU GEN-TOKU 1329   SADANARI(2) KA-REKI 1326
____________________                         ________            
AWATAGUCHI TADAYOSHI BUN-O 1260              SUKESADA BUN-EI 1264
             |_______________________        ___|____            
_____________|___    ________________|____   SUYEYUKI KA-GEN 1303
AYANOKOJI TADAIYE    ABURANOKOJI TADAYOSHI 
     RYAKU-O 1338              KEM-MU 1334

SADATOSHI JO-EI: AYANOKOJI Founder at YOJO AYANOKOJI. YATARO. 
        Buddhist name: RYOAMI. A GOJO line smith, his time was 
        the transition between early KAMAKURA and mid. Work 
        period estimated as starting around SHO-KYU 1219 and 
        continuing through the `40s, although his dates are often 
        listed as later. One source claims him a son of 
        RAI KUNIYOSHI, which goes with an attendant theory that 
        GOJO to AYANOKOJI SADATOSHI and contemporary RAI KUNIYUKI
        (AWATAGUCHI KUNIYOSHI son) traded secrets or were peers 
        as both show CHOJI patterns with distinct similarities.
        SADATOSHI has inter-linked TOBI-like JI-BA and a plainly 
        starker definition, where KUNIYUKI (as all RAI School) 
        endeavored width of YAKIBA through the BOSHI. The BOSHI 
        of KUNIYUKI and his father, KUNIYOSHI is generally smooth.
        The consistency of SADATOSHI's CHOJI line may seem broken
        from happenstantial effects at the quench. An otherwise 
        absent high-reaching CHOJI leaves dotting SHIMA-BA to 
        remind its departure. This presumed confidence has been 
        much appreciated over the years. The technique masks a 
        YAKIBA plan with a similar width to that of RAI but the 
        SADATOSHI BOSHI would be not smooth. His SUGATA was made 
        to reflect a grace found of earlier pieces, while the 
        usual KUNIYUKI is solidly mid-KAMAKURA. SADATOSHI was 
        perhaps, a little earlier than RAI's KUNIYUKI. 
        SUGATA will be deep KOSHIZORI, KO-KISSAKI TACHI. Seemingly
        even, the measure shows FUNBARI. KO-KISSAKI can be an 
        elongated or reaching IKUBI. A JI-NIE veil dresses 
        standing KO-MOKUME that runs. KO-NIE in clear NIOI-FUKASHI
        presents "Flower-petal" KO-CHOJI or KO-GUNOME that is 
        KO-MIDARE. HAMON shows small TOBI-YAKI that seem connected 
        together. MEI: SADA is large, TOSHI - small. The SADA 
        appears as though someone erased its left side.

Emperor MEIJI's favorite. Style is old and classic, a normal width coupled to great length confuses the perception. BO-HI runs the whole length. The widening mid sees NIOI NIJU doubling within DAI-BO CHOJI columns and occasionally jutting GUNOME that push through the crush of a crowded KO-CHOJI line. RAI style JI-BA demand admittance. 

The upper  ~ Only remnants remain of an inner line where TOBI and SHIMA-BA hang. Strings of NIOI-HOTSURE connect dotting TOBI through the MONOUCHI, while the HAMON hugs the HA. KINSUJI cuts across KO-ASHI gaps. 

The BOSHI is debris piled against the FUKURA with defused TOBI suspended above. A relaxed cloud drifts over the KO-SHINOGI. The KAERI seems lost. 

Curved KIJI-MOMO UBU NAKAGO with one MEKUGI-ANA sweeps to a rounded JIRI. His two character MEI is low, near the NAKAGO-MUNE:
                     SADATOSHI