Kaneuji written 包氏 is the Yamato side of one of the great names of the tradition. The published sources are consistent on the point: 包氏 was the signature that Saburō Kaneuji used while he was resident in Yamato, before he studied under Masamune, changed the first character of his name to 兼, and settled at in Tagi District of Province. Works of that Yamato phase have been called Yamato since antiquity. The term did not stay so narrow. As the 's commentary puts it, even after the master moved to there were smiths who did not follow him but remained in Yamato and succeeded to the 包氏 name into the period, and in the broad sense "such makers too are included under the designation Yamato ". KAN416 gathers both senses under one name, and its workmanship is read throughout as the Yamato base carrying a admixture.
The hand divides into two registers, and the published record draws the line plainly. The first is the signed and dated piece: and , wide in body and somewhat , the thin, with a little , the two-character cut large and fine below the peg-hole. Over an that tends to stand a little, with and , the temper is a or a shallow set with pointed , and entering, well adhered, slight and , with ; one dated 1 (1362) adds coarse and a , and an Enbun carries a raised and a in its groove. The published sources stress that only a few such signed pieces survive, dated to the Kannō, and Enbun years, that some run to a -like full temper, and that "the manner of workmanship is not uniform"; none of the blades now under the name is itself tempered in , so that feature is known from the commentary rather than from his own corpus. The signed pieces are valued, with their dates, as material for the study of the name.
The second and larger register is the , appraised as Yamato . Here the construction is with a notably high , the somewhat wide, the extended. The flows strongly toward and stands a little, lying thick and entering, one blade adding a -like texture and a faintly blackish steel. The temper rides a or base into which are set linked, round-headed and with pointed ; and enter, the is thick, the shows , and run frequently, and the is bright. The runs straight to a small round, at times burns through in , or sweeps into vigorous with ; on one it breaks into a flame-like form. Several carry carved through the body.
What the commentary names as the tell of the school is precise. The linked, round-headed on a calm -to- base is the trait "that Yamato particularly excelled at within the province", the feature that separates the school from the plainer mainstream; and over it the -leaning flowing , the high and the edge are read as the Yamato temperament surfacing within a -toned whole. Of the whose sweeps into that flame-like form, the judges write that its high , its prominent and and that show "a Yamato temperament is intermingled", so that the Yamato appraisal is the reasonable one; and, of one , that "the characteristic -based style associated with 包氏 is clearly expressed in both and ". It is a hand at once unmistakably Yamato in bones and in surface.
This double identity carries the central scholarly question around the name, and the published sources do not resolve it so much as record its sides. In the broad reading, KAN416 is Kaneuji's pre- Yamato self together with the successors who kept his signature at home. One commentary states the opposite directly, that the 包氏 "has no connection with Kaneuji, who migrated from Yamato" and is a separate smith of the same name, certain not only from the signature compendia but from the surviving blades. Either way the attributions rest on era and school rather than on a single personal mark, and the work is held distinct from purely Yamato pieces, which "differ from the genuine -school manner" by their stronger , their and their -tradition flavour. At its finest the manner approaches the celebrated Bunbu , one judged to "call to mind the Bunbu ".
For the collector this is a -touched Yamato name of real standing rather than of the very first rank. Fujishiro grades the smith Jō-jō . There are no National Treasures and no Important Cultural Properties under the code; the record runs instead through the and tiers, four blades at and ten at , fourteen designated works in all. Provenance is genuinely distinguished where it survives: a was the personal sword of Ōmura Masujirō, the Bakumatsu figure remembered as the founder of Japan's modern army; another was held in the Chōfu Mōri family of Nagato; and two of the signed descend from the Makino house, one bestowed by the shogunal family and bearing the "Minemuri." The signed and dated pieces are the rarities, only a handful on record and prized as research material; the Yamato come to market from time to time, with patience, a Yamato hand wearing Masamune's influence that a private collector can realistically hope to encounter.