(wing attack)
Life-Time-Meijin to Yoshio Kimura 14th Life-Time-Meijin ,that time was
the golden age. But after 50's Aigakari becomes relatively rare choice in
professionlal Shogi player . Today Some professional use this formation .
( Makoto Nakahara , Noboru Tamaru , Yasuaki Tsukada Nobuyuki Yashiki etc. )
Chapter 1.
| main line | B | C | |
| 1 | P-2f | ||
| P-8d | |||
| 2 | P-2e (diagram0-1) |
||
| P-8e | |||
| 3 | G-7h | --- | P-2d? |
| G-3b | |||
| 4 | P-2d | ||
| Px2d | |||
| 5 | Rx2d | ||
| P*2c | --- | ||
| 6 | R-2f | R-2h | |
| (diagram0-1-1) | (diagram0-1-2) |
Aigakari is started by both players pushing of the static Rook's Pawn .
By pushing pawn , both Black and White want to attack opponent's head
of Bishop which is the most weak point of both camp . But it is not so
easy to break .
by 3. P-2d ? See Opening Trap of Aigakari (1)
If Black moves his Rook 6. R-2h , this move is also a good choice .
(diagram 0-1-2)
The position of Rook at 2-f square in diagram 0-1-1 is
called Uki-bisha (Foating Rook ) and that of diagram 0-1-2
is Hiki-hisha (Rook at 2h square ) (Anchored Rook ) .
and at 8b square is called Hiki-hisha , but they are called
usually only after the exchange of Rook's Pawn of White . )
Aigakari has many variations after diagram 0-1-1 & 0-1-2 .
They are classificated by combination of Rook's position ,
Silver's developing , Pawn structure and King's castle .
Furthermore some variations of quick attack are exist .
After the diagram0-1-1 , there are two main lines.
One is Aigakari line , another is Hineri-bisha line .
(A) Aigakari line
(A-1) 6. . .S-6b type
(A-2) 6. . .S-7b type
(B) Hineri-bisha line
(A) Aigakari line
(A-1) 6. . .S-6b type
After diagram0-1-1
| main line | |||||||||
| 6. | . . . | ||||||||
| S-6b | - - - - - - - - | - - - | - - - | - - - | - - - - | - - - | - - - | S-7b | |
| 7. | P-1f | (iii) | |||||||
| P-1d | - - - - - - - - | - - - | - - - | - - - | - - - - | - - - | P-3d | ||
| 8. | S-3h | P-1e | |||||||
| P-6d | - - - - - - - - | - - - | - - - | - - - | P-3d | P-5d | (ii) | ||
| 9. | P-7f | P-7f | (iv) | ||||||
| P-8f | - - - - - - - - | - - - | S-6c | P-3d | P-8f ? | ||||
| 10. | Px8f | (i) | (i) | Px8f | |||||
| Rx8f | Rx8f | ||||||||
| 11. | P*8g | P*2d | P*2d | ||||||
| R-8d | R-8b | (i) | (i) | ||||||
| 12. | diagram1-0-1 | diagram1-0-2 | |||||||
(ii) Nakahara's N-3g attack avriation .
(iii) Transposition to S-7b style .
(iv) Shin-Kyuu taikou gata
After the diagram1-0-1
12. P-4f S-6c 13. S-4g P-3d 14. P-9f P-9d
15. S-5f S-5d (diagram1-0-1a)
----> Aigakari Koshikakegin
(Gote Uki-bisha)
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After the diagram1-0-2 (1)
12. P-4f S-6c 13. S-4g P-3d 14. P-9f P-9d
15. S-5f S-5d (diagram1-0-2a)
----> Aigakari Koshikakegin
(Gote hiki-hisha)
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After the diagram1-0-2 (2)
12. P-3f P-3d 13. P-3e Px3e 14. S-3g S-6c
15. S-4f S-5d (diagram1-0-2b)
---> Nakahara's S-3g attack
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(A-2) S-7b style
| 6. | . . . | ||||||||||
| S-7b | |||||||||||
| 7. | P-1f | ||||||||||
| P-1d | P-3d | ||||||||||
| 8. | S-3h | P-1e | |||||||||
| P-6d | P-3d | P-9d | |||||||||
| 9. | P-7f | P-9f | |||||||||
| P-8f | S-6c | P-3d | P-3d | ||||||||
| 10. | Px8f | ||||||||||
| Rx8f | |||||||||||
| 11. | P*8g | P*2d ? | |||||||||
| R-8d | R-8b | (i) | |||||||||
| diagram1-0-3 | diagram1-0-4 | ||||||||||
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