KAGA FUJISHIMA   * SANEKAGE Style Woos ECHIZEN FUJISHIMA *

HOKURIKU style:
       _______________           _______________________________ 
      | RAI KUNITOSHI |         |  YAMATO SHIZU to NAOE         |
    ___________|___________     |  GO YOSHIHIRO & NORISHIGE     |
   | ECHIZEN JU TOMOSHIGE  |    |       to SANEKAGE             |
  _____________|____________    | Bring YAMATO and SOSHU Styles |
 | KAGA FUJISHIMA TOMOSHIGE |   |  to mix in the OEI explosion  |
                     _____\____________/_____
YAMATO NOBUNAGA     |                        |
 ECHIZEN NOBUNAGA   |      HOKURIKU-DO       |
   To KAGA NOBUNAGA |________________________|


     RAI KUNITOSHI student FUJISHIMA TOMOSHIGE sends ECHIZEN RAI
     with off-spring to KAGA where YAMATO style had traveled
     north through SOSHU KAMAKURA and into the HOKURIKU with
     SHIZU/GO YOSHIHIRO/ETCHU NORISHIGE/and to KAGA SANEKAGE.
     This mixes with the nationally affected BIZEN OEI style
     explosion for the KAGA FUJISHIMA School

              ____________________________
              ETCHU NORISHIGE GEN-KYO 1321
                    ___|____                             ________
                    SANEKAGE(1) TEI-JI 1362              KAGEKUNI
   ____________________|_______________ ______________     TEI-JI
__|______           ___|____       ____|____      ____|____ 
TOMOSHIGE(2)        SANEKAGE(2)    YUKIMITSU(1)   KUNITSUGU(1)  
  | MEI-TOKU 1390   EI-TOKU 1381   See IWAKIMURA  See HASHIZUME 
  |_____________________________                       
__|______                    ___|_____                 
TOMOSHIGE(3) O-EI 1394       KAGEMITSU(1) KO-RYAKU 1379
__|______                    ___|_____                 
TOMOSHIGE(4) EI-KYO 1429     KAGEMITSU(2) O-EI 1394    
__|______                    ___|_____                 
TOMOSHIGE(5) BUN-AN 1444     KAGEMITSU(3) KO-SHO 1455  
__|______                    ___|_____                 
TOMOSHIGE(6) EI-SHO 1504     KAGEMITSU(4) BUN-MEI 1469 
__|______                    ___|_____                 
TOMOSHIGE(7) TEN-SHO 1573    KAGEMITSU(5) EI-SHO 1504  
                                         _________
                                         KAGEMITSU KO-JI 1555
                   ________ _________ ________  
                   TOMOKIYO KORESHIGE MORIKUNI     
                          - O-EI 1394 -            
                  _______ ________      ________  
                  TOMOIYE TOMOHIRO      MORIKUNI  
                  - BUN-MEI 1469 -     CHO-KYO 1487
   
   
   _________ _________   _________ ________ ________ _________
   KORESHIGE TOMOYOSHI   MUNESHIGE MORIKUNI KUNIKANE NORIMITSU
     - MEI-O 1492 -                - EI-SHO 1504 - 

SANEKAGE(1) TEI-JI (t: NORISHIGE): Main dates are TEI-JI to O-AN.
          The excellence of his work is attributed to the 
          tutelage of his teacher, ETCHU NORISHIGE; for whom his
          similarities argue against the dispute of his lineage.
          Shallow and wide TANTO. CHIKEI addresses MATSUKAWA      
          "Pine-bark" grain, an otherwise unique mark of the  
          NORISHIGE School. Note: The further time walks from   
          NORISHIGE, the less we see of MATSUKAWA HADA influence  
          in the steel of students. YAKIBA: GUNOME patterns are 
          uneven. KO-NIE-DEKI KO-NOTARE KO-MIDARE, GUNOME-MIDARE
          and KO-GUNOME KO-CHOJI MIDARE BA. HITATSURA is claimed.
          SUNAGASHI excites dancing NIE. HOKURIKU steel-color   
          paints his work to KAGA. See Etchu Norishige 
    MEI: FUJIWARA SANEKAGE
         KASHU JU SANEKAGE
         KASHU JU FUJIWARA SANEKAGE 

BUNKAZAI SANEKAGE TANTO 
           NAGASA: 9.4 SUN                      MOTO-HABA: 7.6 BU
             SORI: 8 RIN                      MOTO-KASANE: 1.5 BU
           NAKAGO: 2.8 SUN

          Wide and thin bodied, HIRA-TSUKURI, MITSU-MUNE TANTO. 
          Its slight SORI and elongated point achieves a feeling
          of length. JI-NIE dapples over O-HADA that pushes 
          CHIKEI in the steel. A HOSO-width KO-NOTARE KO-GUNOME 
          falls on both sides where SUNAGASHI, ARA-NIE emerging
          from KO-NIE and deep NIOI saturate the HABUCHI. Absent
          figures were reduced in the decimated URA where  
          SUNAGASHI and KINSUJI compressed in the quench to an  
          intense SUGU that knifes a remaining rubble of TOBI-
          like SHIMA-BA and deeply falling NIOI-ASHI. NIE becomes
          ARA in the deep YAKIBA BOSHI that is TSUKI-AGE TOGARI
          on the OMOTE and KO-MARU URA. Deep-falling KAERI hugs
          the MUNE. Small, roundish HA-AGARI KURIJIRI, UBU-NAKAGO
          has three MEKUGI-ANA, one filled, and signed in thin 
          strokes.
    OMOTE-MEI: KASHU JU SANEKAGE
      URA-MEI: TEI-JI ROKU-NEN GATSU HI

SANEKAGE(2) EI-TOKU: SANEKAGE(1) was father and teacher. His work
           appears in O-EI from the forge at IWATAKI. Sword width
           falls from SANEKAGE(1)'s NAMBOKU period work. Steel    
           grain,like his father's is strong MOKUME that shows 
           CHIKEI. HOSO-SUGUHA or large pattern O-MIDARE HA. The
           signature usually includes "IWATAKI JU."
    MEI: KASHU IWAKI JU SANEKAGE


MORIMITSU O-AN: ITAME of MOKUME with JI-NIE. SUGU GUNOME HA and
           GUNOME-MIDARE with ASHI. SUNAGASHI. Also: EI-ROKU 
           1558.
    MEI: KASHU JU MORIMITSU

MITSUNAGA KEM-MU: ITAME with MASAME. SUGU GUNOME CHOJI-MIDARE HA.
    MEI: KASHU JUNIN MITSUNAGA
         KASHU TOGASHI JUNIN MITSUNAGA
         FUJISHIMA MITSUNAGA TOGASHI JUNIN
         KASHU TOGASHI JUNIN FUJISHIMA MITSUNAGA 

TOMOSHIGE(1) TEI-WA 1345 (t: RAI KUNITOSHI): TOMOSHIGE source in
          ECHIZEN. FUJISHIMA JU. CHU-KISSAKI, FUNBARI KOSHIZORI 
          TACHI. SHINOGI-JI tends to be wide resembling YAMATO. 
          Running ITAME of MASAME has JI-NIE. GUNOME KO-MIDARE 
          and GUNOME CHOJI-MIDARE with valleys in KO-NIE where 
          SUNAGASHI reaches through. See ECHIZEN - TOMOSHIGE 
    MEI: TOMOSHIGE

TOMOSHIGE(2) MEI-TOKU: Work from TEI-JI. Transfers from ECHIZEN
          to study under KAGA SANEKAGE. Made TACHI and TANTO.
          Running ITAME of MASAME with  JI-NIE. KO-NIE GUNOME-
          CHOJI BA has TOGARI that shows ASHI and YO. SUNAGASHI.
          MIDARE BOSHI resolves in high KO-MARU KAERI. Signature
          below the ANA in somewhat thick strokes. 
    MEI: TOMOSHIGE
         FUJISHIMA TOMOSHIGE (KAGA)

TOMOSHIGE(3) O-EI: He made TACHI, WAKIZASHI and TANTO. A dark 
        HOKURIKU color hues MOKUME HADA of pulled MASAME that
        shows JI-NIE. KO-NIE on NIOI-DEKI SUGU-GUNOME HA with
        squarish, KANEWAKA style HAKO-MIDARE rises. Suspended
        HOTSURE puppets a NIJU-like KUICHIGAI. BOSHI: HAMON 
        continues but crowds to TOGARI-KAERI. KATA-SAKU style 
        HA-AGARI, angle-raised on the HA side, or KURI-JIRI 
        NAKAGO and signed large. Long signatures appear in the
        SHINOGI-JI.
    MEI: FUJISHIMA
         FUJISHIMA TOMOSHIGE
         KASHU FUJISHIMA TOMOSHIGE
         KASHU JU FUJIWARA TOMOSHIGE
         KASHU JU FUJISHIMA TOMOSHIGE
         KASHU JU FUJIWARA ASON FUJISHIMA TOMOSHIGE

TOMOSHIGE(4) EI-KYO: UEMON. Worked from O-EI in IWAKI town. HADA
          is MOKUME of MASAME. KO-MIDARE BA. 
    MEI: FUJISHIMA
         FUJISHIMA TOMOSHIGE
         KASHU JU FUJISHIMA TOMOSHIGE

TOMOSHIGE(5) BUN-AN: JIBE. From BUN-AN 1444 to BUN-MEI 1469.
    MEI: FUJISHIMA TOMOSHIGE
         KASHU JU FUJISHIMA TOMOSHIGE

TOMOSHIGE(6) EI-SHO: SUGU-GUNOME HA in NIE. 7th: UEMON lived at 
          MATTO castle town in TEN-SHO 1573. TOMOSHIGE(8): JIBE, 
          brought his line to SHINTO - KEI-CHO period.
    MEI: FUJISHIMA TOMOSHIGE
         KASHU JU FUJIWARA TOMOSHIGE

KAGEMITSU(1) KO-RYAKU (f: SANEKAGE, t: TOMOSHIGE): ISHIKAWA-GORI
        AIKAWA JU. From TEI-JI 1362 to MEI-TOKU 1390. KO-NIE
        rounded KATAOCHI "Stooped-shoulders" KO-GUNOME HA
        resembling BIZEN KAGEMITSU. Small MEI, somewhat widely
        set, in thick strokes.
    MEI: KAGEMITSU
         KASHU JU KAGEMITSU
         KASHU JU FUJIWARA KAGEMITSU

KAGEMITSU(2) O-EI: MINAMISABANOSUKE. SUGUHA and KO-GUNOME.
    MEI: KASHU JU FUJIWARA KAGEMITSU

KAGEMITSU(4) BUN-MEI: HASHIZUME. KO-MIDARE BA.

KAGEMITSU(5) EI-SHO: TOGARI GUNOME-MIDARE HA.

KAGEMITSU KO-JI: KAGE form: EI "Light". Running ITAMA HADA. 
      SUGUHA, KO-NOTARE and GUNOME-MIDARE BA with SUNAGASHI
      and KO-NIE.
    KAGEMITSU

TOMOKIYO O-AN:  Worked from BUN-WA 1352 to O-EI 1394. Dark ITAME
        from MASAME. SUGUHA and KO-GUNOME HA in NIE. 
    MEI: FUJISHIMA TOMOKIYO
         KASHU FUJISHIMA TOMOKIYO

KORESHIGE O-EI: MASAME HADA. GUNOME HA with SUNAGASHI.
    MEI: KASHU JU KORESHIGE

TOMOIYE BUN-MEI: ITAME of MASAME. SUGU KO-MIDARE NOTARE-MIDARE
        and GUNOME-MIDARE with SUNAGASHI.
    MEI: KASHU JU TOMOIYE

TOMOYOSHI MEI-O: ETCHU JU. KO-MIDARE GUNOME HA.
    MEI: KASHU FUJISHIMA TOMOYOSHI

MUNESHIGE EI-SHO: ITAME with MASAME. GUNOME-MIDARE NOTARE-MIDARE
        and O-MIDARE HA.
    MEI: FUJISHIMA MUNESHIGE
         KASHU FUJISHIMA MUNESHIGE
         KASHU JU FUJISHIMA MUNESHIGE

KUNIKANE EI-SHO: A late follower of SANEKAGE. GUNOME KO-MIDARE 
        with SUNAGASHI.
    MEI: KASHU JU KUNIKANE

SADATSUGU KO-JI: GUNOME with SUNAGASHI.
    MEI: KASHU JU SADATSUGU

KANENAGA EI-ROKU: GUNOME-MIDARE with SUNAGASHI.
    MEI: KASHU JU KANENAGA SAKU