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YAMASHIRO
YAMASHIRO AWATAGUCHI KUNITOMO School
"The Six Sons" of KUNIIYE

     1st son

SCHEMATIC OF TRAVELS


_____________
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




YAMASHIRO AWATAGUCHI KUNITOMO - NORIKUNI School
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


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




Kokuho Norikuni

Kokuho Norikuni
Nagasa: 81.1cm
Moto-Haba: 3.2cm

Shinogi-Tsukuri, Ihori-Mune Soku-Niku, Ha-side raised,
deeply cuved Tachi.
Running Itame Hada with profuse Ji-Nie and strong Chikei.
Ko-Nie Fukashi Chu-Suguha that is Ko-Midare.
Sugu Ko-Maru Boshi with small Kaeri.
Ubu Furisode style Kurijiri with one Mekugi-ana.
Norikuni
Frame: Ohashi Nyudo Shikibu Gyoho Shi Ryokei




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.






KUNIYOSHI BUNKAZAI TANTO
NAGASA: 7.5 SUN
SORI: UCHIZORI
NAKAGO: 3.3 SUN
MOTO-HABA: 7.8 BU
MOTO-KASANE: 2 BU

HIRA-TSUKURI, IHORI-MUNE, UCHIZORI TANTO. This is the small, wide-bladed mid-KAMAKURA style. 

O-HADA varies fine KO-ITAME where veiled JI-NIE has RAI dappling. 

A defined NIOI CHU-SUGUHA is of profuse KO-NIE and takes a slight approach for the HA at the MONOUCHI, the AWATAGUCHI mark. The smooth line crumbles very subtly in its resolve at the MACHI. 

BOSHI is a smooth KO-MARU that leaves balanced but deep YAKIBA on the point. A long HI skirts the MUNE. 

UBU NAKAGO has had  multiple mountings. 
                                                 MEI: KUNIYOSHI


awataguchi kuniyoshi tanto


Kuniyoshi - Kokuho

Kuniyoshi - Kokuho
Nagasa: 69.7cm
Moto-Haba: 2.8cm


Shinogi-Tsukuri, Ihori-Mune, elongated Chu-Kissaki.
Knit Ko-Itame of Nashiji Hada profuse Ji-Nie and strong Chikei. Masame in the Shinogi-Ji.
Ko-Nie and Nioi Fukashi Chu-Suguha is Ko-Midare.
Sugu Ko-Maru Boshi with short Kaeri.
O-Suriage Nakago has two Mekugi-ana and Kinzogan-Mei gold attribution.
   Kinzogan: Kuniyoshi



Kuniyoshi Koshigatana - Kokuho

Kuniyoshi Koshigatana - Kokuho
Nagasa: 54cm
Moto-Haba: 2.8cm


Hira-Tsukuri, Mitsu-Mune, O-Dambira style Belt-Sword.
Ko-Itame Nashiji Hada profuse Ji-Nie and Chikei.
Ko-Nie Deki and Nioi Fukashi Chu-Suguha of Ko-Midare with Ko-Ashi. The Habuchi of long Nijuba in Ko-Nie.
Midare-Komi Boshi in Ko-Nie and Kinsuji. Togari on Omote, Ko-Maru on Ura. Long Kaeri.
Ubu Kurjiri Nakago with one Mekugi-ana.
     Sabe-no-Jo Fujiwara Kuniyoshi

YAMASHIRO AWATAGUCHI KUNITOMO - NORIKUNI School
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. 

YAMASHIRO AWATAGUCHI YOSHIMITSU  * Beloved of Kings and Paupers *
      ____________________
      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


Meibutsu Honebami Toshiro
Yoshimitsu
Nagasa: 58.8cm
Moto-haba: 3.4cm


Following the fire of Osaka Castle, it came to Tokugawa Hidetada. It was re-shaped and made
Saiha by Yasutsugu(3).
Nagamaki-Tsukuri has frameed Horimono: Bonji and carved Fudo, and carved Kurikara and Tsume Ken.
Ko-Mokume Hada.
Chu-Suguha in the upper has Saka Ashi-iri and Choji-Midare Ba of Ashi on the lower.
Togari Boshi with medium Kaeri.
O-Suriage NBakago has two Mekugi-ana.


Yoshimitsu - Kokuho



















YAMASHIRO AWATAGUCHI YOSHIMITSU
awataguchi kuniyoshi tanto
GYO-BUTSU HIRANO TOSHIRO - YOSHIMITSU TANTO     Imperial Property
NAGASA: 9 SUN 9.2 BU 
SORI: UCHIZORI 
NAKAGO: 3.8 SUN
MOTO-HABA: 9 BU
HIRA-TSUKURI, MITSU-MUNE TANTO with deep BO-HI to both sides. 

First listing in the KYOHO era MEIBUTSU. This is his brother's wide SUGATA, YOSHIMITSU made famous. His longest piece, its strength retains the simplicity that imbues his work. 

Small KO-ASHI cut and spill, carving a defined KO-GUNOME to the CHU-SUGU URA. NIOI-FUKASHI saturates to smooth the line where searching Sunagashi slips along the lower. OMOTE mounds find the YAKIDASHI but still hold restraint. ASHI breaks up strays in the mid. 

NIOI surfaces near the SAKI to pull a pointed KO-MARU from its medium fall. 
Straight falling KURIJIRI NAKAGO has lined, single MEKUGI-ANA above his two-character MEI. 
    Yoshimitsu



Yoshimitsu Ken - Kokuho
Nagasa: 22.9cm
Moto-Haba: 1.2cm


Ken Shoto with small Hi making up the Shinogi.
Ko-Itame as Nashiji Hada with thick Ji-Nie.
Asaki-Notare Chu-Suguha in Nie-Fukashi with slight Ko-Midare and Ko-Ashi that develops Nijuba along the line.
Boshi converges, Saagari to the Shinogi.
Ubu, Kurijiri, one Mekugi-ana. Signed below.

     Yoshimitsu 

Tokyo National Museum



Shinano Toshiro - Kokuho Bunkazai

Shinano Toshiro - Bunkazai
Nagasa: 24.6cm
Moto-Haba: 2.2cm


Hira-Tsukuri, Mitsu-Mune, wide, Toshiro Suguta Tanto.
Ko-Itame Hada has O-Hada and profuse Ji-Nie and Chikei.
Ko-Nie Deki Chu-Suguha Ko-Midare with Ashi-iri. Hamon narrows in the upper.
Ko-Maru at the Saki with short Kaeri.
Ubu Nakago has one Mekugi-ana.
     Yoshimitsu

Two Yoshimitsu Tanto
awataguchi
                kuniyoshi tanto 
Meibutsu Maeda Toshiro
awataguchi
                kuniyoshi tanto
Meibutsu Atsushi Toshiro
MAEDA TOSHIRO 
NAGASA: 24.5cm - JUYO BUNKAZAI
ATSUSHI TOSHIRO 
NAGASA: 21.8cm - KOKUHO

YAMASHIRO AWATAGUCHI YOSHIMITSU School
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. 
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