AKASAKA SENJUIN JUMYO 
____
TOFUJI HEI-JI 1159
  _|__________________________________________________________________
   |                                                                  |
___|_                                                                 |
JUMYO(1) SHO-O 1288                                                   |
   |______________________                                         ___|__
___|_                 ____|____                                    TOFUJI
JUMYO(2) BUN-PO 1317  MUNEYOSHI SHO-AN 1299                          _|_
___|_                 ____|____           ________                    |
JUMYO(3) KEM-MU 1334  MUNETSUGU SHO-WA 1312   ____|____              _|_
___|_                         to TEI-JI 1362  MUNEYOSHI            ___|__
JUMYO(4) TEI-JI 1362                              | TEI-JI 1362    TOFUJI 
___|_                                         ____|____            EI-TOKU 1381
JUMYO(5) OEI 1394 - MUROMACHI-style begins -  MUNEYOSHI O-EI 1394
___|_                              _______________|____
JUMYO(6) SHO-CHO 1428              MUNETSUGU  MUNEYOSHI HO-TOKU 1449
___|_                              KA-KICHI   ____|____
JUMYO(7) CHO-KYO 1487                         MUNEYOSHI EN-TOKU 1489
   |_______________________                   ____|____
___|_                  ____|__________        MUNEYOSHI TEN-MON 1532
JUMYO(8) TEN-MON 1532  UJINOBU GAMMAKU 
___|_                    To SHIMIZU
JUMYO(9) TEN-SHO 1573
___|_
UMYO(10) BUN-ROKU 1592
MOMOYAMA stylists


Early TOFUJI HEI-JI - SAIGUN. No direct scholarship for this name other than 
        mentioning a copy of the Beard-cutter sword is attributed. This in 
        MASAME HADA with HOSO-SUGUHA. Searching for TOFUJI ZAIMEI in Late 
        NAMBOKUCHO SUGATA and MUROMACHI has been difficult. Expect YAMATO 
        style for TOFUJI where KO-SENJUIN are assumed to be their roots. 

TOFUJI EI-TOKU 1381: SAIGUN. This will be the late period of the NAMBOKUCHO. 
        Early MUROMACHI style. Coarse MASAME HADA that is dark MINO steel, 
        typical of the HOKURIKU YAMATO-DEN KAJI. Not expected to be fine quality.
        NIE GUNOME-MIDARE with SUNAGASHI. 
     TOFUJI
     TOFUJI SAKU

TOFUJI KYO-ROKU 1528: SAIGUN. AKASAKA SENJUIN style. Standing ITAME that runs
        with MASAME. Dark MINO steel, with JI-NIE.
        KO-NIE DEKI SUGUHA and KO-MIDARE BA. GUNOME-MIDARE BA with SUNAGASHI 
        and NIE in the HABUCHI. TOFUJI SAKU in thick strokes and pushed together.
     TOFUJI SAKU

JUMYO(1) SHO-O 1288: SAIGUN. Supposedly a great-grandson of TOFUJI. SAEMON-no-JO.
        ZAIMEI, signed pieces, in KAMAKURA SUGATA are not seen. There is an OSHIGATA
        bearing the date, EI-NIN GONEN - 1297 but finding extant ZAIMEI has been 
        troublesome. Old records say JUMYO is a YAMATO line TOKO and YAMATO style 
        is expected. Regardless the record is scant if non-existent. 
        Note: JUMYO with long MEI of many characters are KAMAKURA JIDAI. 
     NOSHU ONO-GORI SAIGUN JUNIN JUMYO

MUNEYOSHI SHO-AN 1299 (f:SHO-O JUMYO): Expect YAMATO KAMAKURA Style.
     MUNEYOSHI

_______________
MUROMACHI JUMYO: 
     Generally similar in kind and quality, NIOI-GUCHI is tight and defined,
     SUGUHA and straight lines of GUNOME BA. Few in MURA-NIE. 

JUMYO(4) TEI-JI: With this smith, the best of the JUMYO work begins. Here we see 
        signatures of: JUMYO MUNEYOSHI nd JUMYO MUNETSUGU and a general expansion 
        into the body of work from the JUMYO line. Often, more than one JUMYO are 
        working at the same time. 

MUNEYOSHI TEI-JI 1362: SAIGUN. AKASAKA JU. JUMYO Family, JUMYO stylist. 
     MUNEYOSHI

TSURUGA KUNIYUKI TEI-JI 1362: AKASAKA SAIGUN JU. JUMYO line from JUMYO(1). SAIGUN.
     KUNIYUKI

MUNEYOSHI O-EI 1394 (f: TSURUGA KUNIYUKI): AKASAKA JU. TSURUGA Smith. Sword-making 
        in AKASAKA becomes affected by KUNIYUKI and KUNINAGA and the SENJUIN stylists.
        See KUNIYUKI and KUNINAGA. 

MUNETSUGU KA-KICHI 1441: Late of the SAIGUN JUMYO. Living in IBI-GORI ONO-MACHI near
        MATSUYAMA. The SAIGUN TOGOJUHIKI list of the MINO INABA, from TEN-SHO JU 
        SHI-NEN 1586, catalogs their work and residence.
        Good quality NIOI-GUCHI SUGUHA and KO-MIDARE BA in MURA-NIE. (MURA-NIE 
        signals the better JUMYO). WAZAMONO cutting test. 
     MUNETSUGU
     JUMYO MUNETSUGU

MUNEYOSHI HO-TOKU 1449: SAIGUN.
     JUMYO MUNEYOSHI

MUNEYOSHI EN-TOKU 1489: AKASAKA JU. Descendents of JUMYO. SUGUHA and GUNOME
        with TOGARI. RYO-WAZAMONO rated cutter.
     JUMYO MUNEYOSHI

MUNEYOSHI TEN-MON 1532: AKASAKA JU. JUMYO stylist. 
     JUMYO MUNEYOSHI SAKU
     NOSHU AKASAKA JU MUNEYOSHI

JUMYO of BUN-ROKU / KEI-CHO. This is the MOMOYAMA transition, in which several JUMYO 
        are working. Many in the MOMOYAMA create fresh, bold weapons. Strong bodied. 
        MOMOYAMA: Strong and proud. Competitors are the FUJIWARA TAKADA and 
        MOMOYAMA KYUSHU.
        With JUMYO, - Can be normal MIHABA and KISSAKI or the MOMOYAMA wide body with 
        O-KISSAKI. 
        ITAME HADA runs with MASAME mix. Strong and dappled SHIRAKI-UTSURI. 
        Good quality NIOI-DEKI of KO-NIE SUGUHA and KO-MIDARE BA, ASAKI-NOTARE lines, 
        and TOGARI in GUNOME-MIDARE patterns. 
        Usually two-character NIJI-MEI, and are generally small and balanced to the 
        center.  
     JUMYO


UJINOBU GAMMAKU: JUMYO Line in SHIMIZU. See SHIMIZU.