Saito Ichiro Kiyoto was born in Bunsei 10 (1827) at Oizumi-sho in Shonai, Ushu, where his family is said to have operated a hot-springs inn. In the fourth month of Kaei 5 (1852), he resolved to pursue swordsmithing, traveled to , and became a disciple of Minamoto Kiyomaro -- an apprenticeship arranged through the assistance of the Shonai-born metalworker Funada Ikkin. In the eleventh month of Kaei 7 (1854), Kiyomaro committed suicide, leaving Kiyoto with scarcely more than two years of training. Nevertheless, he studied well and faithfully inherited his master's manner. His reputation was further elevated by the celebrated episode of his fully repaying Kiyomaro's outstanding sword-related debts. After his master's death, Kiyoto worked at Yotsuya Iga-cho until Ansei 2 (1855), then from around Bunkyu 2 (1862) moved to Kanda Ogawa-cho. In the seventh month of Keio 3 (1867) he received the court title Buzen no Kami. When the government prohibited sword-wearing in Meiji 3 (1870), he abandoned the smith's path, returned to Atsumi, and spent his later years as proprietor of the family inn, dying on August 24, Meiji 34 (1901), aged seventy-five.
Kiyoto's style displays two principal modes: a Kiyomaro-derived -ba inherited from his master, and -- distinctive to Kiyoto and not seen in Kiyomaro -- a aligned with the Yamato tradition. In the former mode, the forging shows mixed with and , bearing thick and abundant , with the workmanship taking on a somewhat hadamono-like character. The is a mixing round-headed , angular elements, and -flavored forms, with long entering vigorously; adheres well, and long , , and run conspicuously through the temper. The turns , becoming pointed with strong . In the Yamato mode, the forging becomes a tightly compacted with fine and , supporting a with extremely shallow and a -like manner; the tends toward tightness and is bright and clear. Both modes share the distinctive of the Kiyomaro lineage: markedly wide with little taper from base to tip, narrow , scant , and an extended whose has a withered look, producing a grand and powerful impression.
Kiyoto achieved in his finest works a level that the describe as "approaching that of his master Kiyomaro" and "comparable to that of his teacher." His supreme masterpiece in the manner, bearing the date Keio 3 immediately after receiving the Buzen no Kami title, is singled out as demonstrating workmanship on a par with Kiyomaro himself, with both and more strongly -laden and more flamboyant than his usual output. Even a in is praised for its "commanding vigor." His Yamato-tradition works reveal a separate mastery: the well-refined forging and tight display "noteworthy points" that constitute a mode entirely his own. Several blades bear tang inscriptions of exceptional documentary value, including the sacred-sword "Obahari" recording Kiyomaro's unfulfilled intention and the materials he had amassed -- a testament to the bond between master and disciple that remains one of the most celebrated narratives in the history of Japanese swordmaking.