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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
This is the major variation. White 1 here was invented by Fujisawa Kuranosuke.
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.
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.
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 ?
As far as I (Dieter) understand, there are two issues in this joseki:
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.
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.
After these plays and White a, Black b, White c, White has died inside and has much influence outside.
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. ![]() |