| © Copyright Robert Cole 2015
- No copying or distributing The Eight DO SAIKAIDO - The Eight Roads of KOTO |
|
|
CHIKUGO MIIKE School
Deep curve and little FUNBARI to IKUBI KISSAKI.
Wide blades that support BO-HI (large grooves).
MOKUME with MASAME having O-HADA. HOSO-SUGU HOTSURE
with KO-ASHI in KO-NIE. NIJUBA. SUGU, SUGU KO-MIDARE
and SUGU KO-CHOJI BA. YO.
______
______ ________ GESSAI(1) JI-AN 1021
MASAYO KO-HEI 1058 HIDEHIRO EN-KYU ___|__
|_______________________ 1069 GESSAI(2) EI-SHO 1046
____|___ ___|___ SADAYUKI (In HYUGA)
MOTOZANE - SHO-HO 1074 - MITSUYO
|_ _ _ _ _ _ _ _ _ _ _ _|________ __________________
____|____ _|_ ___|_____ ____|____
TOSHINOBU KA-HO 1094 ___|___ YOSHIYUKI KA-HO MORITSUNA
|__________________ MITSUYO ___|____ 1094 HO-AN 1120
____|____-brothers- ___|_____ KUNINAGA ____
TOSHIMASA TOSHINARI HO-AN 1120 NAGA
CHO-SHO 1132 EI-KYU 1113 HO-EN 1135
MITSUYO continues from later HEIAN to the MUROMACHI with the expected
style-variation as to time. School output slackens in mid-production
period. Old blades are curved and evenly wide to the KISSAKI. Weight
reduction is achieved by banking the SHINOGI-JI on to a thin MUNE.
Strength resides in the SHINOGI which then becomes the usual opportunity
for BO-HI.
ITAME that is pulled and running with MASAME. SHIRA-KE "White" UTSURI.
HOSO-SUGU ASAKI-NOTARE where HOTSURE pulls from the line. Small KO-ASHI
and brushed KO-NIE.
BOSHI is SUGU or complex SUGU resolving in small KO-MARU.
Early work appraisal-point: SHINOGI passes close to the middle as it enters the NAKAGO. Note: O-EI MITSUYO, and forward, associated to HIZEN. With MITSUYO: Look carefully at the style. |
 |
KOKUHO - MEIBUTSU ODENTA National Treasure
NAGASA: 2 SHAKU 1 SUN MOTO-HABA: 1.1 SUN
SORI: 8.9 BU SAKI-HABA: 8 BU
NAKAGO: 6.1 SUN
SHINOGI-TSUKURI, MARU-MUNE TACHI. Deeply curved KOSHIZORI
with little FUNBARI. Its even width and wide SHINOGI-JI
is classic SUGATA. KASANE is thin. KOSHI-HI falls along
the SHINOGI from MARU-DOME in the JI. The refined
strength of its elongated IKUBI KISSAKI is of the highest
perfection and has captured the mind for centuries.
O-HADA mixes in running ITAME. Brilliant JI-NIE appears
white.
At first the HAMON seems erratic, a ribbon streamer
blowing against the HA. HOTSURE lays along the HOSO-SUGU
KO-NOTARE MIDARE Ba line. Occasionally KO-ASHI slant and
NIOI and KO-NIE etch a subtle NIJUBA.
Shallow SUGU BOSHI of faint NIJU follows the FUKURA to
KO-MARU KAERI.
Two MEKUGI-ANA, KIRI NAKAGO has his three-character
TACHI-MEI:
MITSUYO SAKU
CHIKUGO MIIKE School
MOTOZANE SHO-HO: Both MITSUYO and MOTOZANE are attributed as son
of MASAYO. Their names have been inscribed together. It
has been a statement as fact, and is most probable, that
this was the variation, GENSHIN - MITSUYO's posthumous
name. HAMON is SUGUHA and SUGU KO-MIDARE HA with KO-ASHI.
BO-UTSURI.
TOSHINOBU KA-HO (f: MOTOZANE): MOKUME. SUGUHA of NIE-FUKASHI.
_______ ________ ________ _________
NAGAIYE SADAHIDE KUNINAGA SANETSUNE
KEN-RYAKU 1211 BUN-EI 1264 - KO-AN 1278 -
________ ________
KUNISADA KUNINAGA
- BUN-PO 1317 -
SUE-MIIKE: KO-ITAME with MASAME. Known for SHIRA-KE
"White"standing HADA. SUGUHA with KO-ASHI.
Note: O-AN MITSUYO travels to HIZEN O-MURA.
_______
MITSUYO EI-NIN 1293 _________
___|___ TOSHINOBU KEM-MU 1334
MITSUYO KEM-MU 1334 ________
|____________________ MITSUARI EN-BUN 1356
___|___ -brothers- ____|_____ ______
HIZEN:MITSUYO O-EI 1394 MITSUSHIGE SANEYO O-EI 1394
___|___ EI-KYO 1429 _________
MITSUYO KYO-TOKU 1452 TSUGUNOBU O-EI 1394
___|___ _________
MITSUYO MEI-O 1492 TOSHINOBU EI-KYO 1429
_________ _________ ________ _______
TOSHIMASA TSUGUNAGA TOSHINAO AKIHISA CHO-ROKU 1457
TAI-EI 1521 - TEN-MON 1532 -
MITSUYO KEM-MU: Running KO-ITAME with MASAME. Standing SHIRA-KE
UTSURI. HAMON is SUGUHA with KO-ASHI. BO-HI.
MITSUYO O-EI: O-AN MITSUYO appears in HIZEN for O-EI.
HIZEN O-MURA JU: ITAME with MASAME and O-HADA
|
|
|
