_____________
TORIN KUNIIYE GEN-RYAKU 1184
____|_____________
TORIN KUNITOMO KEN-KYU 1190 - SHO-GEN GOBAN and Twenty-four GOBAN
    |____________________ __________ _________
____|___              ___|____   ___|____  ___|____
NORIKUNI              KUNISUKE   TOMOSUYE  KUNIZANE KEN-PO 1213
    | SHO-KYU 1219      - TEI-O 1222 -     ___|___
    |                                      KUNINAO BUN-EI 1264
    |______________________________________ ____________________
____|____                              ____|___                 |
KUNIYOSHI HO-JI 1247                   KUNINOBU KO-CHO 1261     |
    |___________________ __________        |                    |
____|_____  ____________|____  ____|____   |                    |
YOSHIMITSU  RAI TARO KUNIYUKI  YOSHIMASA   |                    |
       - SHO-GEN 1259 -        KAN-KI 1229 |                    |
          __________ __________ ___________|__________          |
     ____|____   ___|____   ___|____   ____|____   ___|____     |
     SANETOSHI   SANETAKA   SANEKIYO   MASATSUGU   KUNISADA     |
     HO-JI 1247    - KO-CHO 1261 -      KO-AN 1278  BUN-EI 1264 |
                ______________________                          |
                TOSHIRO-SAKON KUNINOBU SHO-WA 1312              |
                ________________________________ _______________|
_______________|____                        ____|____       
AWATAGUCHI KUNIMITSU(1) KEN-CHO 1249        MASAMITSU BUN-O 1260
  _____________|____                  __________|____
  SHINTOGO KUNIMITSU(2) SHO-AN 1299   TOSA YOSHIMITSU SHO-AN 1299
    ___________|____                    SENJUIN and TEGAI
    HASEBE NAGAMITSU GEN-O 1319

KUNITOMO KEN-KYU (f: KUNIIYE):   SHO-GEN GOBAN KAJI - sixth month
        and the Twenty-four GOBAN KAJI with BIZEN KANEMICHI - 1st 
        month. TORINZAEMON. 1st son. Being the eldest, he is the
        likely candidate for  attributing  AWATAGUCHI swords of 
        the older SUGATA styles. His will be KO-KISSAKI TACHI 
        SUGATA of a noted grace. KO-ITAME HADA with JI-NIE. HOSO-
        SUGU width of KO-MIDARE BA with ASHI that shows KINSUJI. 
        AWATAGUCHI style NIE JI-BA dapple the line. 
MEI: KUNITOMO 
     KUNITOMO TSUKURU

TOMOSUYE TEI-O (t: KUNITOMO): Work to KAN-GEN 1243.

KUNISUKE TEI-O 1222

NORIKUNI SHO-KYU (f: KUNITOMO): TOMANOSUKE. OKI GOBAN KAJI - 1st 
          and 2nd month. Made swords in the transition period 
          from early to mid KAMAKURA and both styles may be seen.
          Early pieces show KO-KISSAKI KOSHIZORI. Mid-KAMAKURA 
          SUGATA has the unmistakable emphasis to the upper with 
          an IKUBI-like, broad KISSAKI. NASHI-JI style KO-MOKUME 
          is evenly veiled in JI-NIE. Standing, AWATAGUCHI style 
          NIE-UTSURI. SUGU CHOJI-MIDARE with ASHI or  KO-MIDARE 
          CHOJI BA in KO-NIE. Robust KINSUJI walks in SUNAGASHI. 
          BOSHI is HAKIKAKE brushed KO-MARU. 

Kokuho Norikuni NAGASA: 74.7cm  SORI: 2.3cm  SHINOGI-TSUKURI,IHORI-MUNE, early-KAMAKURA SURIAGE TACHI. A deep curve reaches an elongated KO-KISSAKI.  Extremely fine KO-ITAME HADA has a fine JI-NIE.  A long HOSO-SUGUHA that becomes gently ASAKI-NOTARE KO-MIDARE BA in deep NIOI-FUKAi and KO-NIE. There is ASHI and YO, and KINSUJI strikes through figures becoming slightly SUNAGASHI.  BOSHI is KO-MARU in NIE where KINSUJI is seen.  SURIAGE NAKAGO drops gently to a KURI-JIRI where his MEI resides against the MUNE. Three MEKUGI-ANA.      Norikuni

KUNIYOSHI HO-JI: The eldest son of AWATAGUCHI NORIKUNI. 
      KUNIYOSHI is one of the great TANTO makers. His 
      famous peers are RAI KUNIMITSU and AWATAGUCHI 
      YOSHIMITSU. There are few TACHI. TANTO are small. 
      The styles of this time are narrow with perhaps, 
      UCHIZORI. However, a subtle departure championed 
      by pupil and brother, YOSHIMITSU is the retention 
      of width through the MONOUCHI leaving a rounded 
      FUKURA. The two styles, then, are narrow with 
      elongated point and wider with rounded FUKURA. 
      They may or may not seem UCHIZORI. TACHI will be 
      the deeply curved KO-KISSAKI SUGATA of early 
      KAMAKURA. 
      Vivid ITAME of NASHIJI-HADA is veiled in JI-NIE, 
      and shows CHIKEI. HOSO or CHU width of GUNOME with
      ASHI or KO-MIDARE BA that becomes NIJU. 
      BOSHI is KO-MARU where NIE is gently swept. 
      His HORIMONO are simple figures, GOMABASHI and 
      BO-HI - carved along the MUNE, a trait.  
      There are thin-lined MEI and thick-lined. The 
      crossing first stroke of the SHI radical of the 
      YOSHI is made light. The third stroke of the SHI 
      radical is approximately the width of the lower 
      border of the KUNI.The vertical stroke reaches the 
      KUNI border. The SHI radical and KUNI lower border 
      are at right angles.

KUNIMITSU(1) KEN-CHO (f: NORIKUNI, br: KUNIYOSHI): 2nd son. TOBEI. 
        Old writers and new argue this name. One history has
        AWATAGUCHI KUNIMITSU and SHINTOGO, different periods 
        of the same career. Dates for SOSHU YUKIMITSU and the 
        KAMAKURA period of AWATAGUCHI KUNITSUNA tend to corral 
        SHINTOGO into the latter century, where late KAMAKURA 
        CHU-KISSAKI TACHI is expected. The early work of 
        KUNIMITSU(1) would be the  mid-KAMAKURA IKUBI-KISSAKI
        SUGATA. KO-MOKUME with JI-NIE and AWATAGUCHI style,
        strongly standing NIE-UTSURI. KO-NIE in NIOI-FUKASHI 
        HOSO-SUGUHA. HORIMONO, if found, are said to resemble
        that of SHINTOGO.
     KUNIMITSU
     AWATAGUCHI SABEInoJO KUNIMITSU

KUNIMITSU(2) SHO-AN (f: AWATAGUCHI KUNIMITSU): Son and student.
        SHINTOGO. Also SHINTOTARO. Conjectured to have had 
        affiliation with the HASE-DERA Temple in YAMATO from 
        which he started the HASEBE. He is known as the father 
        of SOSHU stylists. A famous TANTO maker, his SUGATA 
        often differs to the popular variations of YOSHIMITSU. 
See treatment in SAGAMI 
See Tokubetsu Juyo Shintogo Tachi 
See Tokubetsu Juyo Shintogo Tanto 
     KUNIMITSU
     SHINTOGO KUNIMITSU
     KAMAKURA JU HASEBE KUNIMITSU
     SHINTOGO KUNIMITSU HOSHI SAKU
     KAMAKURA JUNIN SHINTOGO KUNIMITSU
     SAGAMInoKUNI KAMAKURA JUNIN HASEBE KUNIMITSU


NAGAMITSU GEN-O (t: SHINTOGO KUNIMITSU): SABURO. See HASEBE.

YOSHIMITSU SHO-GEN (t: KUNIYOSHI, f: NORIKUNI):  See YOSHIMITSU 
           School following.

KUNIYUKI SHO-GEN (f: KUNIYOSHI): RAI Founder. KO-MIDARE of OBUSA
        CHOJI MIDARE. Also called JUNIJIN. See treatment in RAI 
        School following AWATAGUCHI

YOSHIMASA KAN-KI (t: KUNIYOSHI): KO-MOKUME. CHU-SUGU KO-MIDARE BA

KUNINOBU KO-CHO (t: KUNIYOSHI, f: NORIKUNI): GOROZAEMONnoJO and
        TOZA. Pieces are rare. KO-MOKUME HADA. KO-NIE SUGUHA and 
        KO-MIDARE BA. 
     KUNINOBU

KUNISADA BUN-EI (t: KUNINOBU): CHUJIRO. Transferred to AYABE in
        TAMBA as did other NORIKUNI line smiths. RAI KUNITOSHI
        style SUGUHA with KO-ASHI. See TAMBA
     KUNISADA

KUNINOBU SHO-WA: UMAnoSUKE. Took the name: TOSHIROSAKON. Moved to
        SAGAMI YAMANOUCHI 

MASAMITSU BUN-O (t: NORIKUNI): MOKUME HADA. SUGUHA with ASHI.
        Students drift to TAMBA.

TOSA YOSHIMITSU SHO-AN (t: MASAMITSU): There were four famous
        YOSHIMITSUs. AWATAGUCHI YOSHIMITSU is most important and
        most highly regarded, two BIZEN smiths and second in 
        importance, TOSA YOSHIMITSU who started the TOSA School.
        He is seen to have SENJUIN and TEGAI influence and 
        theorists have suggested he is the same man as SENJUIN 
        YOSHIMITSU from YAMATO. MOKUME HADA has JI-NIE. HOSO-
        SUGUHA in NIE. YAMATO smith made KO-KISSAKI TACHI with 
        slight KOSHIZORI. MOKUME with O-HADA shows JI-NIE
        however, HAMON may lean to unevenly placed GUNOME HA. 

      ____________________
      AWATAGUCHI KUNIYOSHI RAI Founding Father HO-JI 1247
     _______________|__________ ____________
____|_____   _______|____  ____|____    ____|____
YOSHIMITSU   RAI KUNIYUKI  YOSHIMASA    TADAYOSHI (t: HISAKUNI)
    | - SHO-GEN 1259 -     KAN-KI 1229  KEN-CHO 1249
    |________________________ _________________________
____|____                ____|____                  ___|___
YOSHIKUNI SHO-GEN 1259   YOSHIMASA(1) KEN-CHO 1249  YORIIYE
       ______________________|                      KA-GEN 1303
  ____|____              ____|____       
  KUNITSUNA KO-AN 1278   YOSHIMASA(2) KA-GEN 1303    

YOSHIMITSU SHO-GEN (t: KUNIYOSHI, f: NORIKUNI): Youngest. 
      Born: 1229, Died: 1291. Work to KO-AN 1278. One of the 
      three great TANTO makers, he is often referred simply 
      by his common name, TOSHIRO. To find a YOSHIMITSU long 
      sword, is to find the only one. HIDEYOSHI's favorite, 
      the ICHIGO-HITOFURI YOSHIMITSU DAITO was burned in the 
      OSAKA fire. IYEYASU searched it out and had ECHIZEN 
      SHIMOSAKA (YASUTSUGU) retemper it. This SAIHA is now an 
      Imperial Property. It is said to be an imposing mid-
      KAMAKURA IKUBI-KISSAKI TACHI. He also made KEN and 
      NAGINATA. His UCHIZORI, MITSU-MUNE TANTO are theme 
      variations. Most are wide for his small 8.5 SUN SUGATA 
      (varies between 8.1 and 9.9 SUN). This width may carry 
      the length to portray a round FUKURA or FUKURA-TSUKU, his 
      common SUGATA. The ATSUSHI TOSHIRO is a very thick backed,
      wide SUGATA where the MONOUCHI shallows - and would appear
      TAKENOKO "Bamboo-sprout" were it not for the deliberate 
      FUKURA and slightly elongated SAKI. He also made 
      AWATAGUCHI style slender SUGATA. Perfection of balance 
      never overstates.
     -SHIN-TETSU: AWATAGUCHI "Gold" JI-NIE dresses standing, 
      moist blue over purple KO-MOKUME NASHI-JI with O-HADA. 
     -YAKIBA:CHU-width lays a soft blanket to KO-GUNOME HA 
      defined of oblique-falling KO-ASHI in fine KO-NIE and 
      NIOI-FUKASHI. KINSUJI-like strays fall from the line. 
      Always quoted YOSHIMITSU mark: AZUKI "Bean" KO-GUNOME 
      figures in the YAKIDASHI. These may be overt or a 
      perturbance of line, if discernible. Color: Snow white.
     -BOSHI and upper: Falling NIOI and ASHI may invoke a 
      YAKIHABA SEMAI or "Narrowing" similar to SHINTOGO. Line 
      flows to a fairly sharp KO-MARU where NIE can be ARA. 
      Famous for OKINA-HIGE "Old Man's Beard," - a few 
      whisker-like threads drift down from the head. There is 
      meat in the turnback which drops somewhat deeply.
     -HORIMONO: Simple carvings are cut deep, and run along 
      the MUNE: - BO-HI, GOMABASHI and SUKEN. 
      Note: The thicker TOSA YOSHIMITSU can be confused with
      AWATAGUCHI. Beyond KASANE the secret is color.

 Recap: -NASHI-JI with O-HADA has JI-NIE
        -Thinning CHU-SUGU complexity increases in mid
        -BOSHI: ARA-NIE head with OKINA-HIGE "Whiskers"
        -YAKIDASHI resolves in "Bean" KO-GUNOME

MAEDA TOSHIRO 
NAGASA: 24.5cm - JUYO BUNKAZAI

ATSUSHI TOSHIRO 
NAGASA: 21.8cm - KOKUHO

YORIIYE KA-GEN (f: YOSHIMITSU): KO-MOKUME HADA. SUGUHA.

YOSHIKUNI KA-TEI (t: YOSHIMITSU): KO-MOKUME. CHU-SUGUHA.

YOSHIMASA(1) KEN-CHO (t: YOSHIMITSU): He and YOSHIMASA(2) became
        KOKAJI KAGENAGA and are root and founder of the INABA 
        KOKAJI School. KO-MIDARE BA. See INABA. 

YOSHIMASA(2) KA-GEN: Became INABA KAGENAGA. See INABA.

KUNITSUNA KO-AN to TOKU-JI (t: YOSHIMASA): Same name as SANEKUNI.
        SAGAMI. YAMANOUCHI KUNITSUNA.