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3-4, One-Space High Approach, Two-Space High Pincer, Ogeima
Path: 34OneSpaceHighApproachTwoSpaceHighPincer   · Prev: 34OneSpaceHighApproachTwoSpaceHighPincerOneSpaceJump   · Next: 34OneSpaceHighApproachTwoSpaceHighPincerOgeimaKajiwaraSVariation
  Difficulty: Dan level   Keywords: Joseki

[Diagram]
Diag.: Ogeima

This is the major variation. White 1 here was invented by Fujisawa Kuranosuke.


[Diagram]
Diag.: Main line

Black 6 here is now almost always played, the alternatives at a and b are nowadays considered to be worse. The continuation with White 7 at a gives Black too much in the way of outside influence (see below).

There is also Kajiwara's variation with Black 2 at 4.


[Diagram]
Diag.: Main line (continued)

The normal moves are as shown here, completing the joseki. For a while the relative timing of the 1/2 and 3/4 exchanges was considered a critical issue[1], but (it seems) no longer. Black 2 at b is a variant which is stronger in the corner. The exchange of 3 for 4 is a loss for White, as it greatly weakens the aji of his solitory stones, but it means that White 5 indirectly covers the cutting point at c. Black 7 is of course not played if Black already has a stone in the area.


[Diagram]
Diag.: Variation

White 5 can be played here instead, provided the ladder works for White. The first time it appeared was in a game between Miyazawa Goro and Ishikura Noboru. Can the latter therefore be considered to have invented the variation ?


[Diagram]
Diag.: Variation (continued)

As far as I (Dieter) understand, there are two issues in this joseki:

  • Will Black be able to make up for the local loss by playing effective ladder breakers for the ladder at a (which obviously works for White, or else she wouldn't play 1 in the previous diagram)?
  • Will Black be able to close off with b and cooperate well with the upper left ?


[Diagram]
Diag.: Vulgar

White 1 here is considered vulgar. White seems to end in sente, but if she takes it, Black can play Black a-White b-Black c-White d in sente, completely enclosing White in the corner, The result is considered better for Black.



[1]

[Diagram]
Diag.: Critical line?

This is a possible critical line for the supposed timing issue. White 1 before White 3 is natural, simply because White 3 is locally a bad play, weakening the marked white stone (it is only played at all to strengthen White's cutting point). The question is, what if Black now plays 4 to cut, the shape to the right having been fixed by 1/2?

This position has occurred in a game, Cao Dayuan vs. Sakata Eio 1987-04-27.


[Diagram]
Diag.: One critical line

After these plays and White a, Black b, White c, White has died inside and has much influence outside.


[Diagram]
Diag.: Another critical line?

Another possible critical line occurs when White pushes in the centre first, as here; and Black makes the bamboo joint 2 to thwart White's later play in the corner (now if White a, Black b and White has less eye shape). That invites White 3 and induces the cut Black 4.

This was played in a Korean game (Seo Neung-uk vs. Cheong Su-hyeon 1990-12-07); variations are given in Jungsuk in Our Time.



Authors:



Path: 34OneSpaceHighApproachTwoSpaceHighPincer   · Prev: 34OneSpaceHighApproachTwoSpaceHighPincerOneSpaceJump   · Next: 34OneSpaceHighApproachTwoSpaceHighPincerOgeimaKajiwaraSVariation
This is a copy of the living page "3-4, One-Space High Approach, Two-Space High Pincer, Ogeima" at Sensei's Library.
(OC) 2003 the Authors, published under the OpenContent License V1.0.