The school (畠田) takes its name from a hamlet in lying hard against village, and from that address its founder, Moriie, is called Moriie. The published sources place his line across the great middle decades of , the earliest dated work a of Bun'ei 9 (1272), with the name running on through the years. The standard reading sets two generations under Moriie, the first contemporary with Mitsutada and the second with Nagamitsu, though the designations are candid that a clean division of generations on the carved characters alone is difficult and remains a subject for future study, and that some advocate a single-smith theory. Neither Moriie nor his fellow Sanemori ever signed -ju (畠田住); their residence always reads , as in inscriptions such as no -ju Moriie, and from this the record concludes that was a small place-name within village itself. The set the line under Moritsune of the Fukuoka school, and the school worked the bright steel as the smiths around whom the tradition first took its classic form.
Across decades of commentary the manner is fixed in nearly the sentence: the workmanship broadly resembles that of the contemporary smiths, yet the tends to stand and the - (蛙子丁子), the waist-pinched, tadpole-headed clove, is conspicuous in the tempered edge. The forging is run with , tending to and to stand in the grain where the masters close into a tight , carrying thick fine , fine , and a vivid that rises on nearly every blade. Over that standing, -lit the school forges at full power a flamboyant mixing -, , and with the tadpole clove, and entering vigorously, attaching, and about the , fine and running, and a bright ; the runs to a , often turning pointed and sweeping out in . Moriie carries this flamboyance at its boldest, his the stronger and his clove the more insistent, with a quieter second register of and tight on his later pieces. His pupil or son Sanemori reads one degree calmer, the tending toward a somewhat smaller pattern and the rise and fall less pronounced, his finest work at a glance recalling a superior Nagamitsu. Among the juniors, Mitsumori widens a -based clove led by the tadpole heads, while the late Morinaga turns wholly toward a -laden, -based Soden- hand, and Morishige drifts toward the mainline as the school assimilated into it.
To a blade is to read the standing, -lit against the round-headed clove. Where the of Mitsutada and Nagamitsu swells round and full, the clove pinches at the waist, and on unsigned blades the deciding point is the breaking into great clusters midway along the edge, the place where, the published record states, lies the point of attribution to Moriie. Against Fukuoka the stands more and the reads as the old reflection rather than the exuberance of pure clove; against the mainline the standing grain and the pinched clove give the line away, the tending to extend where Mitsutada and the smiths keep theirs compact. Moriie stands at the head of the school, graded Sai-jo by Fujishiro and ranked beside the founders, his blades carrying the histories of the great houses, the Tokugawa, Mitsui, Hosokawa, Uesugi and Okudaira among them, and held in such collections as the Tokyo and Kyoto National Museums, the Tokugawa Art Museum and the Eisei Bunko. Sanemori, Jo-jo , is the more approachable name, most of his circulating work resting on the smaller-patterned tadpole clove, his signed and dated rare events when they appear. For the collector a standing, -laden reads as almost on that count, a blade from the circle in which the tradition first took its classic shape.