It is said SHINTOGO associated with HASE-DERA Temple in YAMATO 
and started the HASEBE. Thin and wide TORIIZORI. O-ITAME has 
MASAME toward the MUNE, - a HASEBE mark. CHIKEI. HAKO-like paired
O-GUNOME and HYOTAN "Gourd" GUNOME compete within an undulating 
GUNOME O-MIDARE line. INAZUMA hides in HAKIKAKE SUNAGASHI while 
KINSUJI drifts like loose strands of silk. Complex forms may 
appear delicate. TOBI straddles grain lines in the JI where 
YUBASHIRI is found. Strong NIE within NIOI. ASHI falls. 
MIDARE BOSHI coordinates deep KAERI.
                                   __________________
                                   SHINTOGO KUNIMITSU SHO-AN 1199
                                     ___________|____
"The Ten Students"                   HASEBE NAGAMITSU GEN-O 1319
HASEBE KUNISHIGE(1) KEM-MU 1334        See AWATAGUCHI KUNITOMO
        |_______________ _____________     
________|_______     ___|____      ___|____  - Three Brothers -
HASEBE KUNISHIGE 2)  KUNIHIRA      KUNINOBU 
        - EN-BUN 1356 -               | BUN-WA 1352
         ________________ ____________|____________________
________|_______      ___|____    ____|____             ___|____      
HASEBE KUNISHIGE(3)   NOBUYUKI    SHIGENOBU(1) KA-KEI   MUNENOBU      
To SETTSU O-EI 1394   EI-WA 1375  ____|____       1387   SHI-TOKU 
__________    _______             SHIGENOBU(2)               1384
SHIGEMITSU    NOBUIYE                O-EI 1394
 O-EI 1394     MEI-O 1492

NAGAMITSU GEN-O (t: SHINTOGO KUNIMITSU): SABURO. KO-MOKU. SUGUHA.

"The Ten Students" - See The Ten Students
KUNISHIGE(1) KEM-MU (t: MASAMUNE): CHOBE. Tradition tells us his
        line was from HATSUSE in YAMATO, however, as HASEBE was
        his school, this could be a misnomer that passed into 
        reference. It mixes with another long held notion that 
        KUNISHIGE was of SENJUIN or TAIMA roots and then fell 
        into the SHINTOGO KUNIMITSU, HASEBE fold. Sword making 
        and study at GOJO BOMON INOKUMA Gate, YAMASHIRO. Wide and
        thin (a SOSHU marker), slightly curved sword body. 
        Elongated CHU-KISSAKI. IHORI-MUNE or MARU-MUNE. KO-MOKUME
        becomes MASA toward the MUNE. NIE-FUKASHI GUNOME-MIDARE
        resides as a NOTARE undulation, - SOSHU style. SUNAGASHI
        and KINSUJI are HAKIKAKE brushed through competing GUNOME
        rises. HYOTAN "Gourd" and other double GUNOME forms 
        inhabit the wall of jumbled mounds. Flared YUBASHIRI-like
        TOBI-YAKI hug grain lines and paint HITATSURA to the 
        upper. HAKIKAKE sweeps TOGARI or MARU from a MIDARE-KOMI
        BOSHI wherein  a bay or trough may dip for the HA. Also a
        deep KAERI-FUKASHI might contain a bump or widening. This
        key and lock BOSHI pattern, if present, may be very 
        subtle.

        Note: Published OSHIGATA and technicals have long 
        established two NAMBOKUCHO KUNISHIGE MEI. Judgment of 
        MU-MEI or ZAI-MEI between the 1st and 2nd KUNISHIGE can 
        be difficult. The definer favoring KUNISHIGE(1) is clear
        moisture of surface-steel and TOBI-YAKI in the upper. 
        KUNISHIGE(2) throws TOBI in the lower.
 Tokubetsu Juyo Hasebe 


KUNISHIGE(2) EN-BUN (f: KUNISHIGE 1): CHOBEJIRO. From TEI-WA 1345
        at GOJO BOMON INOKUMA Gate. O-AN 1368 is his outside
        career limits. Earlier pieces are the SOSHU, slightly 
        undulating GUNOME HA. The HAMON broadens with time to 
        O-GUNOME MIDARE. After the BUN-WA, we see HIRA-TSUKURI 
        TANTO and O-TANTO. An O-AN 1.8 SHAKU WAKIZASHI exists. 
        ITAME has MASAME toward the MUNE. Standing HADA may 
        appear rough, and showing strongly dappled BO-UTSURI. 
        His ASAKI KO-NOTARE of GUNOME with TOBI-YAKI set the  
        pattern for HASEBE smiths. O-GUNOME MIDARE might seem to
        splatter from the compact undulation  which moves under
        TOBI and MUNE-YAKI, rivaling HIROMITSU for the SOSHU era
        HITATSURA-BA crown. MARU-BOSHI with deep turnback. KUNI
        frame may contain the radicals, TAMA "Jewel" or 
        O "King."