Nariye (成家) of Province is, according to one tradition, said to have been a descendant of Kagehide (景秀), the younger brother of Mitsutada (光忠). He was active in the later period and is counted among the smiths of the so-called -- the "small-" group. However, sword reference works record comparatively early dated examples spanning from Bunna (1352) through Kōan (1361), and furthermore, judging from workmanship and the calligraphic style of the signature characters, a relationship with Kanemitsu has also been proposed. The acknowledges this remains "a subject awaiting further study." What is consistently affirmed is that Nariye's technical ability is "in no way inferior" to that of Masamitsu of the Kanemitsu line active in the period. Even the precise meaning of the term itself, the examiners concede, "remains somewhat indistinct," though it may provisionally be treated as a collective designation for late- smiths who did not stand in a direct master-disciple relationship with Kanemitsu.
Nariye excelled particularly at -ba mixing and ; compared with Kanemitsu, his work "gives an impression of being somewhat less broad and expansive in feeling." The forging characteristically shows mixed with and , tending toward standing grain, with , frequent -like dark linear features, mottled , and prominent . The gathers many elements -- , , , angular forms, , and -- yet overall resolves into a distinctly small-patterned , the hallmark of the style. The typically enters in with a pointed or tip, sometimes showing . A key diagnostic observation appears across multiple sessions: while at first glance Nariye's work may "present a style easily mistaken for Kanemitsu," close inspection reveals the of the becoming slightly -- subdued and darkened -- "and herein lies an important point indicating that it should be appraised as Nariye." The occasional presence of saka-chōji-like elements and overall tendency further distinguishes his hand.
Nariye is regarded as "a representative master among the makers at the height of the period," and his works consistently receive praise for their "magnificent and powerful form" expressing the period character of the era. His display wide with little taper, concluding in , conveying what the examiners describe as "a palpable sense of force." The quality of his is a recurring point of commendation, with the forging described as "especially tight" and the steel possessing varied -like kawarigane that produces "strong visual appeal." Signed and dated examples -- such as the 6 (1373) and the Kōan 2 (1362) -- are recognized as constituting "excellent documentary material" of high scholarly value.