The dawn of signed Japanese swordmaking. In the Heian capital toward the end of the tenth century, Sanjō Munechika forged the Mikazuki Munechika — one of the Five Great Swords under Heaven and a National Treasure — its slender, deeply curved form embodying the courtly elegance of the age. Beside him the Gojō line, led by Kuninaga, maker of the National Treasure Tsurumaru, worked the same quiet manner: a narrow tachi tapering to a small kissaki, a fine ko-itame thick with ji-nie and faint utsuri, a serene suguha or ko-midare in ko-nie. From these two sister schools of Yamashiro descends the whole later tradition — Awataguchi and Rai alike.
Era
987 — 1184
Members
64
Kokuhō
1
Jūbun
10
Jūbi
13
Tokujū
3
Jūyō
20
For Sale
0
64smiths1Kokuhō10Jūbun13Jūbi3Tokujū20Jūyō
Branch五条Gojofrom 宗近9 smiths
The Sanjō & Gojō Schools (三条・五条) Lineage
The The Sanjō & Gojō Schools (三条・五条), active 987–1184 in Yamashiro Province across 64 documented smiths: 1 Kokuhō (National Treasures), 10 Jūbun, 13 Jūbi, 3 Tokubetsu Jūyō, 20 Jūyō.
Yoshiie (吉家) — Mainline · 1004-1012. Jūbun, Jūbi, Tokujū, Jūyō. The tachi designated Tokubetsu Juyo at the 23rd session, a signed two-character Yoshiie (吉家) handed down in the Kajiki Shimazu family, is placed by the published sources at the very end of the Heian period, a work of the Fujiwara to Kamakura transition (藤末鎌初). Yoshiie belongs to the Sanjo school of Yamashiro, the line of Munechika and the oldest stratum of Kyoto sword-making; the old registers transmit him as Munechika's son, in some accounts his pupil. The NBTHK does not accept the link: a considerable number of securely signed works survive, and judging from their style the published sources hold that connecting him directly to Munechika "is untenable"[[c:1]], reading him instead as a somewhat later smith of the same school, dated across the texts from late Heian into mid Kamakura.
His tachi keep the old Kyoto build, slender in mihaba, the koshizori high and deep with funbari on the ubu examples, closing in a small or middle kissaki. The hamon is a ko-midare mixed with ko-choji; ashi and yo enter frequently, nie sits strongly, kinsuji and sunagashi run through the ha, and the nioiguchi is bright and clear. The feature the published sources name most insistently lies above the monouchi, where the small midare takes on tobiyaki and turns nijuba; even the boshi, midare-komi with ko-maru and hakikake, carries a doubled feeling. On one signed tachi the NBTHK writes that the nijuba and the nijuba-like character of the boshi "are all his points to see"[[c:2]]; another commentary calls the small midare that develops into nijuba a viewing point of the Sanjo school itself[[c:3]].
The jigane is itame and ko-itame, well knit, with thick, extremely fine ji-nie, chikei within it, and a faint utsuri, read variously as a soft nie-utsuri or a midare-utsuri of ji-nie. On the Tokubetsu Juyo tachi the steel is called bright, the forging thickly carpeted with ji-nie and interwoven with chikei, showing "not the slightest looseness"[[c:4]]. Within this single manner the temper ranges from blades fired quietly on a suguha base with gentle undulation and small midare to others that widen at mid-blade into a flamboyant choji-midare. What unifies them is age of flavor: the published sources find in one blade "a deep, archaic elegance" of jiba[[c:5]] and say of another that it "possesses a truly archaic fragrance"[[c:6]].
His mei takes two forms, the two-character Yoshiie (吉家) and the three-character Yoshiie-saku (吉家作), cut with a bold chisel (太鏨) on the haki-omote toward the mune. Signed tachi are comparatively few and the scholarship around them candid: Honma notes that signed blades transmitted as Yoshiie are not uniform in their signature, passed down variously as Sanjo, Ko-Bizen or Ichimonji, and only two, formerly in the O-Shimazu and Akaboshi families, are decisively accepted as old Kyoto work. On one signed tachi the characters Yoshiie were later re-chiseled to read Tenza (天座), the name for a sword worn by a retired sovereign (上皇), association rather than forgery, the original reading still legible. Around the signed pieces gathers the mumei register, o-suriage katana and wakizashi passed down as den Sanjo Yoshiie, the attribution resting on the archaic cast of the jiba; one such katana carries an origami of Honami Kojo (光常) dated Kanbun 8 (1668), valuing it at 350 kan.
The kantei problem shadowing every Yoshiie blade is the homonym, and the published sources state it without softening: the name exists in both the Sanjo school and the Bizen Ichimonji school, the manner of signing and the workmanship resemble each other, and some blades "cannot be decided offhand"[[c:7]]. The adjudication rests on his own marks. One tachi was decided for Sanjo because its nie is "strong and archaic"[[c:8]] and from the manner of its signature, while the Ichimonji namesake of the mid-Kamakura period, the same sources note, "mostly fires a flamboyant choji-midare"[[c:9]]. Within Kyoto the brightness draws the other line: the strong nie and the bright, clear nioiguchi his texts record blade after blade separate him from Ayanokoji Sadatoshi, the other Kyoto hand working in small midare, and in the whole of his published record an urumi tendency appears only once, at the koshi of a single ubu tachi. The Tokubetsu Juyo commentary gathers his identity into a phrase: a blade in which "the Kyoto temperament is pronounced"[[c:10]].
Fujishiro grades him Jo-jo saku, and eighteen designated works stand on record: five Important Cultural Properties, four Juyo Bijutsuhin, one Tokubetsu Juyo, seven Juyo, and a tachi recorded in Honma's inventory of the Imperial collection. The five Important Cultural Properties are patrimony and will never trade; his recorded holders include the Kyoto National Museum, the Hayashibara Museum of Art, the Kosetsu Museum of Art and the Mori Shusui Museum of Art. The provenance roll is old Kyoto's own: the Tokubetsu Juyo tachi was presented by the main Shimazu house when Shimazu Tadaro was enfeoffed at Kajiki and stayed with that branch thereafter; a Juyo Bijutsuhin tachi came down in the Ikeda family of Okayama; the mumei katana of the Owari Tokugawa, with the characters Hachiman (八幡) carved from the shinogi-ji into the nakago, is kept by the Tokugawa Art Museum; other blades passed through the Hachisuka and Matsudaira families, and the Hachisuka presented the tachi of Honma's inventory, signed Yoshiie-saku, to the Emperor Meiji; the inventory judges it, by its archaic workmanship and its signature, a Yoshiie of the Sanjo school as tradition holds[[c:11]]; and one carries an association with Uesugi Kenshin. What a private collector may realistically encounter is the tier of eight blades in the Tokubetsu Juyo and Juyo ranks, and even these are held far more often than traded; a tachi of the early Sanjo school comes to open hands only rarely, and a signed Yoshiie, of which the published sources accept so few, almost never.
Kanenaga (兼永) — Mainline · 1028-1037. Jūbun, Jūbi, Tokujū, Jūyō. Gojo Kanenaga is recorded in the published sources as a son or grandson of a provincial disciple of Sanjo Munechika. Together with Kuninaga, described variously as his younger brother or his son, he is said to have lived in the Gojo district of Kyoto, the place-name by which he is known, and his date is given as the late Heian period. His surviving record is small. Verified signed works are, in the repeated phrase of the published sources, extremely few: one entry counts only several tachi, another notes examples of both tachi and ken, and the benchmark against which every attribution is read is a tachi designated an Important Cultural Property and held by the NBTHK. The rest of his designated work is greatly shortened and unsigned, appraised as his on the strength of the old Kyoto manner.
The temper is the centre of that manner. It is a small-irregular *ko-midare* worked in *ko-nie*, often on a *suguha* tone, with *ko-choji* and *ko-gunome* mixed into it. *Ko-ashi* and *yo* enter frequently, *sunagashi* and *kinsuji* run through the *ha*, and the *nioiguchi* is bright on the better pieces. The published sources return again and again to the archaic character of this temper. Of the signed tachi they write that "the small irregular temper in nie-deki carries an antique fragrance," and of an attributed katana that "the small-midare hamon is likewise elegant and classically refined." One blade, tempered in small *choji* with slight *midare*, is set against the work of his reputed teacher: "while it has an archaic flavor, it is more orderly than the work of Munechika."
The *jigane* is *itame*, on some pieces a tight *ko-itame*. It tends to stand somewhat, and in places the grain flows; on the signed Juyo tachi a large *o-hada* appears on the *haura*. Fine *ji-nie* attaches across the *ji*. Utsuri is recorded on two blades only, a *nie-utsuri* on the Tokubetsu Juyo katana and a *midare-utsuri* on the katana with an inlaid appraisal signature. The *boshi* turns back in a *ko-maru*, running straight or with a slight droop, at times with *hakikake* or a touch of *kinsuji*. Where shortening has left the *sugata* legible it is slender, the *sori* still comparatively high, the *kissaki* a small *ko-kissaki* or a compact *chu-kissaki*. One entry reckons that a shortened katana was originally a tachi of about two *shaku* six *sun*.
The record falls into two registers. The first is the handful of signed tachi. On the Juyo tachi only the character "Kane" survives at the tip of the *nakago*, and the published sources make the chiseling itself a point of recognition: in this smith's signatures the "Kane" is cut with a fine chisel, somewhat vertically elongated and comparatively large, while the "naga" is habitually compressed and small. A second entry records the same habit, a two-character signature with the "Kane" large and the "naga" somewhat smaller. A signed tachi recognised as a Juyo Bijutsuhin in 1934 is called slender and handsome, its *ko-midare* mixed with *ko-choji* showing an archaic tone. The second register is the larger body of greatly shortened unsigned blades. On the Tokubetsu Juyo katana the attribution is accepted because, within part of the *hamon*, points can be discerned that connect it to the Important Cultural Property tachi. A Juyo katana carries a four-character appraisal *kinzogan-mei* reading Yamashu Kanenaga, and there it is the lower half of the *hamon* that connects to the benchmark; on that blade the *choji* becomes especially showy toward the base.
So thin is the signed record that his name marks a manner as much as a single hand. The prewar entries preserve the reservations of the connoisseur Honma: one attributed katana "appears to be a celebrated Kyoto blade, yet is not by the same individual as the previously listed signed Kanenaga," and another, though a celebrated blade appraised as Kyo-mono, "cannot be conclusively identified as Gojo Kanenaga." Within early Yamashiro his work is set apart by its own features, a somewhat standing *itame* and a *ko-midare* in *ko-nie* that runs through most of his blades, both recorded far less often on the Awataguchi and Rai blades in the same catalogues.
Kanenaga is rated Jo-jo saku by Fujishiro and valued at 2,000 in the Toko Taikan. Ten designated works stand on record: two Important Cultural Properties, one Tokubetsu Juyo and four Juyo blades, and three Juyo Bijutsuhin of the prewar period; no Kokuho is among them. The provenance recorded against his blades runs through daimyo houses and the shogunate. One broad, powerfully built katana was transmitted in the Owari Tokugawa house as his work; it is said to have come from Tokugawa Ieyasu, carries a Hon'ami Kochu origami of Shotoku 4 (1714), and remains with the Tokugawa Reimeikai. The kinzogan-mei katana, according to the record attached to its old scabbard, was presented by Rokugo Iga no Kami Masakiyo to Shogun Tsunayoshi and later bestowed by the shogunal house upon the Satake. The published sources sum up the Tokubetsu Juyo katana as "in every respect truly elegant in the manner of old Kyoto work." A signed Kanenaga is among the rarest things a collector could encounter. The attributed katana in the Tokubetsu Juyo and Juyo tiers are held, of recorded whereabouts, largely in private hands, and one comes to market only rarely.
Munechika (宗近) — Mainline · 987-989. Kokuhō, Jūbun, Jūyō. The National Treasure *Mikazuki Munechika* is a slender *ubu tachi* signed Sanjo, preserved at the Tokyo National Museum, and it carries the name of the smith the published sources place at Sanjo in Kyoto in the late Heian period and record as the founder of the Sanjo school. A second of his designated blades counts him among the earliest smiths of the age in which the curved *shinogi-zukuri* blade, the Japanese sword as such, took its settled form. The same source places him at Sanjo in the capital around the Eien era and notes that under the name Sanjo no Kokaji he "is widely known in popular lore"[[c:1]]. He stands at the head of the Ko-Kyo-mono, the old Kyoto line with which the Yamashiro tradition begins.
His surviving work is very thin. Blades whose signatures can be accepted with certainty "are exceedingly few"[[c:2]], and two practices are recorded, *Munechika* or *Sanjo*. Two of the *tachi* the published record describes in full are signed Sanjo. A third, an *ubu tachi* recorded in Honma's inventory of the Imperial collection, is signed Munechika on the *omote*. Its commentary notes that blades signed Munechika "are exceedingly few"[[c:3]] and that the work closest to it in the quality of the upper blade is "the celebrated Mikazuki Munechika"[[c:4]]. Because the *Mikazuki* is signed Sanjo on the *ura* and this blade Munechika on the *omote*, the same text suggests that the style of the two may settle whether the smith who signs only Sanjo is Munechika himself. Of the two Important Cultural Property *tachi*, whose plates record a *ko-midare* over *itame*, one is signed Sanjo and the other bears a partly legible Mune, attributed to Munechika. On the *Mikazuki* the two characters sit on the *ura*, centred above the *mekugi-ana* of a *kijimomo*-shaped *ubu nakago*. The Juyo *tachi* carries its *mei* on the *omote* in somewhat thick, slightly large strokes, and the published sources state frankly that points in common with the *Mikazuki* inscription are hard to identify. That blade was transmitted at the Atago Shrine in Kyoto, where it is held to have been dedicated by Toyotomi Hideyoshi, and it appears among the sword drawings Hon'ami Kotoku sent to Ishida Mitsunari, so that its "value as historical source material is extremely high"[[c:5]].
The fully described blades share one form. The *Mikazuki* and the Juyo *tachi* are each a slender *tachi* with strong *funbari*, a high *koshizori* and a *ko-kissaki*; on the *Mikazuki* the curvature is especially strong at the *machi*, and on the Juyo blade it settles toward the point over a somewhat thin *kasane*. The *tachi* signed Munechika likewise has a high *koshizori* with *funbari* and a tight *ko-kissaki*. Their *jigane* differ in emphasis. The *Mikazuki* is forged in *ko-itame* mixed with a large grain tending to flow, with thick *ji-nie*. The Juyo *tachi* shows a tightly knit *itame* that looks slightly soft, *ji-nie* laid finely and thickly, delicate *chikei*, and a *nie-utsuri*. The blade signed Munechika has a tightly knit *itame* with *ji-nie* and *yubashiri* here and there, its steel described as "a rather soft jigane, truly moist and beautiful"[[c:6]].
The *hamon* is where the hand is most personal. On the *Mikazuki* it is a *ko-midare* with small *ashi*, the *nioi* deep and *ko-nie* plentiful, and along the edge runs a repeated chain of half-moon-shaped, *uchinoke*-like *tobiyaki* in *nie* or *nioi*. According to the *Kyoho Meibutsucho* the name "Mikazuki was taken from the shape of the hamon"[[c:7]], and the *boshi* becomes a double line sweeping back in a slightly rounded turn. On the Juyo *tachi* a narrow *suguha*-toned temper carries a slight small *midare* with *ko-nie*, while *uchinoke* and *yubashiri* run intermittently from base to point and break here and there into *nijuba* and *sanjuba*, the double line continuing into the *boshi*. The *tachi* signed Munechika has a *ko-midare* of deep *nioi* with *ko-nie* and frequent *ashi* and *yo*; in its upper half especially, *uchinoke*-like activity and chains of *tobiyaki* form *nijuba* and *sanjuba*, and the *boshi* runs in *midare* and turns back with *hakikake*.
The published sources read this archaic activity as the core of his place in history. The low, small *midare* with doubled lines and intermittent *uchinoke* "connects in one thread to the Shosoin pieces"[[c:8]], and the work "is judged to be somewhat earlier in date than early Hoki and early Bizen pieces"[[c:9]]. The *Mikazuki* is described as an elegant blade that "shows a style of high dignity"[[c:10]], and the Juyo commentary calls the Atago *tachi* a work of archaic fragrance whose quality connects with it.
The Fujishiro appraisal places Munechika at *Sai-jo saku*, and the *Toko Taikan* values his work among the highest in its scale. Five designated works are on record: the *Mikazuki*, a National Treasure, two further *tachi* designated Important Cultural Property and held by Nangu Taisha and Wakasahiko Jinja, the Juyo *tachi* from the Atago Shrine, and the *tachi* signed Munechika. That last blade was presented to the Emperor Meiji by the Sakai family, former lords of Obama in Wakasa, and is listed as Gyobutsu in Honma's inventory of the Imperial collection. The *Mikazuki*, the published sources record, was counted "among the Tenka-Goken"[[c:11]] in the Muromachi period, was presented in the Edo period to Tokugawa Hidetada as a bequest of Kodai-in, the wife of Hideyoshi, and descended thereafter in the Tokugawa shogunal house. None of these works is likely ever to change hands. They are patrimony kept in national, shrine and long-held care, and a privately held signed Munechika would be among the rarest things a collector of early Japanese swords could encounter.
Kuninaga (国永) — Mainline · 1004-1046. Jūbun, Jūbi, Jūyō. Kuninaga worked at Gojō in Kyōto at the close of the Heian period and into the early Kamakura, and the published sources count him among the first rank of the old Kyōto makers: "Kuninaga is one of the representative smiths of the ko-Kyōmono"[[c:1]]. He is transmitted as a son or grandson of Sanjō Munechika, and in one entry as Munechika's disciple. Because he and Kanenaga, given variously as his elder brother or his father, both lived in the Gojō quarter, he is known as Gojō Kuninaga. The most famous blade to carry his name is the meibutsu Tsurumaru Kuninaga, listed as Gyobutsu in Honma's inventory of the Imperial collection, whose entry judges it outstanding among the works of the name, "a masterpiece among masterpieces"[[c:2]]. The published sources note that his signatures are not uniform, and that a tachi whose mei differs from the Tsurumaru and from the Ise Jingū tachi can still be acknowledged as the same hand. Signed work is exceedingly scarce, only a few tachi and a single ken, and of them all the sources write that they "display an archaic elegance and a richly resonant character"[[c:3]].
His signed tachi keep a slender, graceful *taoyame-buri* form, the curvature high at the waist and easing toward a *ko-kissaki*, the old shape preserved even where the blade has been shortened. The temper is a soft, bright *ko-midare*, drawing in *ko-gunome* and *ko-chōji* with *ashi* and *yō*. Its *nioiguchi* is soft and the *ko-nie* well adhered, with fine *kinsuji* and *sunagashi*. Along the crests of the temper run *yubashiri* and small *tobiyaki*, variations the commentary calls frequent among the old Kyōto makers. On one signed tachi the *bōshi* turns in with *midare*, well swept with *hakikake*, the tip pointed and the omote return a little longer. The sources find strength in it that does not look rough, and see there "the skill of a master craftsman"[[c:4]].
The *jigane* is a well-packed *ko-itame*, standing a little in places and mixed with *masame* and *mokume*. Fine *ji-nie* settles evenly, delicate *chikei* enter, and in places a faint *nie-utsuri* stands. An ubu mumei tachi of the fifty-sixth Jūyō session shows the same refined forging under a classical shape, and the published sources find the highlights of old Kyōto work conspicuous on it and the whole "unmistakably graceful"[[c:5]]. Among the Gojō school they liken that tachi above all to Kuninaga. The signed *ken*, an Important Cultural Property, is a double-*shinogi* blade forged in *itame* mixed with *masame*, its temper a *notare*-toned line with *ko-midare*, recorded as Heian work.
The attributed blades form the other reading of his record. On an ō-suriage mumei katana the sources read a "strong Yamato character, yet with the lingering manner of Munechika present"[[c:6]], and place it a little later in date. Another ō-suriage katana, of standard width with a thick *kasane* and heavy in hand, has a flowing, standing *itame* under thick *ji-nie*, with *nie-utsuri* in parts. Its *chū-suguha* base mixes *ko-midare*, *ko-chōji*, *ko-gunome* and angular *ha*, with *hotsure*, *uchinoke* and *nijūba*-like *yubashiri*. Of that blade the sources write that it "clearly demonstrates the distinctive traits of Gojō Kuninaga in both ji and ha"[[c:7]]. A mumei *ken*, short and dignified, carries a *suguha*-toned temper with *ko-midare*, *sunagashi* and *kinsuji* and a *yakizume* *bōshi*. The judges call it "exceptionally sound for a piece of this period"[[c:8]] and fully accept the Gojō Kuninaga attribution.
What sets his work apart is its scale and poise. His *ko-midare* stays small and antique, and even on his strongest katana the sources find that "a well-ordered suguha typical of Kyōto work predominates"[[c:9]]. With Kanenaga he stands at the head of the Gojō line, and his attributed blades are read through the lingering manner of Munechika.
He has no National Treasures. Ten designated works stand on record, among them one Important Cultural Property, the signed ken, five Jūyō blades, the prewar Jūyō Bijutsuhin and the Tsurumaru in Honma's inventory. The commentary on one signed tachi calls it extremely valuable for understanding the style of a smith whose signed works are rare[[c:10]]. Provenance in his corpus reaches the Date house: one signed tachi was owned by Date Muneaki when it was recognised in 1937, and another carries a Hon'ami Kōchū *origami* of Genroku 10. With only five blades in the Jūyō tier and his signed ken an Important Cultural Property, a signed Gojō Kuninaga comes to light only seldom, and a privately held example is among the most notable things an early Kyōto collector could encounter.
Chikamura (近村) — Mainline · 1040-1044. Tokujū, Jūyō. Chikamura was a swordsmith of the Sanjo group of Kyoto in Yamashiro Province, active from the late Heian period into the early Kamakura period. According to the *meikan* and related signature references, he is transmitted as a son of Sanjo Munechika. A smith of the same name is also recorded within the Ko-Bizen school, and among surviving works it is not always easy to determine at a glance whether a given blade should be assigned to Sanjo or to Ko-Bizen. However, the former imperial treasure (*kyu-gyobutsu*) bearing his signature may safely be regarded as a Kyoto-made piece on the basis of its workmanship, and this attribution has served as the principal reference point for distinguishing his hand.
Chikamura's characteristic work displays the archaic and elegant *tachi sugata* associated with the Sanjo lineage: slender, with high *koshizori*, *funbari*, and *ko-kissaki*. The *jigane* is *itame-hada* mixed with *nagare-masame* and *mokume*, with abundant *ji-nie* well applied and *chikei* appearing. The *hamon* ranges from *suguha* mixed with small *midare* to *ko-midare*, with *ko-ashi* and *yo* entering, *ko-nie* adhering well, and *sunagashi* and *kinsuji* appearing — hallmarks of accomplished *nie-deki* workmanship. The *boshi* typically runs straight, turning in *ko-maru*, with a tendency toward *yakizume*. Two distinct types of signature survive: one in large, boldly cut characters and another in smaller script, possibly reflecting different periods within the same smith's career.
Extant signed works by Chikamura are exceedingly few, rendering every surviving example of considerable documentary value. His blades constitute essential material for the study of the Sanjo school's transmission beyond its founding generation, and those retaining traces of vermilion writing (*shusho*) reading "Sanjo" on the reverse of the *nakago* provide direct evidence of the traditional school attribution. The former imperial collection pieces, in particular, remain the touchstone against which all attributions to this smith are measured.
Arinari (有成) — Mainline · 987-989. Jūbi. Smith of the Sanjō & Gojō Schools.
Other smiths
Chikamura (近村) — Mainline · 1190-1199. Smith of the Sanjō & Gojō Schools.
Moriie (守家) — Mainline · 1334-1338. Smith of the Sanjō & Gojō Schools.
Sukemune (助宗) — Mainline · 1159-1160. Smith of the Sanjō & Gojō Schools.
Akinori (日則) — Mainline · 1053-1058. Smith of the Sanjō & Gojō Schools.
Arikiyo (有清) — Mainline · 1058-1065. Smith of the Sanjō & Gojō Schools.
Arikuni (在國) — Mainline · 1004-1012. Smith of the Sanjō & Gojō Schools.
Arikuni (有國) — Mainline · 1004-1012. Smith of the Sanjō & Gojō Schools.
Arikuni (有國) — Mainline · 1028-1037. Smith of the Sanjō & Gojō Schools.
Aritada (有忠) — Mainline · 1012-1017. Smith of the Sanjō & Gojō Schools.
Chikanori (近則) — Mainline · 1156-1159. Smith of the Sanjō & Gojō Schools.
Chikanori (近則) — Mainline · 1058-1065. Smith of the Sanjō & Gojō Schools.
Hirotsugu (弘次) — Mainline · 1184-1185. Smith of the Sanjō & Gojō Schools.
Ietoshi (家利) — Mainline · 1156-1159. Smith of the Sanjō & Gojō Schools.
Ieyasu (家安) — Mainline · 1181-1182. Smith of the Sanjō & Gojō Schools.
Kanetsugu (兼次) — Mainline · 987-989. Smith of the Sanjō & Gojō Schools.
Kanetsugu (兼次) — Mainline · 1046-1053. Smith of the Sanjō & Gojō Schools.
Kanetsugu (包次) — Mainline · 1234-1235. Smith of the Sanjō & Gojō Schools.
Kanetsune (兼恒) — Mainline · 1053-1058. Smith of the Sanjō & Gojō Schools.
Kaneyasu (兼安) — Mainline · 1037-1040. Smith of the Sanjō & Gojō Schools.
Kaneyasu (兼安) — Mainline · 1169-1171. Smith of the Sanjō & Gojō Schools.
Kuninaga (國永) — Mainline · 1044-1046. Smith of the Sanjō & Gojō Schools.
Kuninaga (國永) — Mainline · 1213-1219. Smith of the Sanjō & Gojō Schools.
Kuninori (國則) — Mainline · 1233-1234. Smith of the Sanjō & Gojō Schools.
Kunishige (國重) — Mainline · 987-989. Smith of the Sanjō & Gojō Schools.
Munenaga (宗永) — Mainline · 1069-1074. Smith of the Sanjō & Gojō Schools.
Munenori (宗則) — Mainline · 1028-1037. Smith of the Sanjō & Gojō Schools.
Munetada (宗忠) — Mainline · 1077-1081. Smith of the Sanjō & Gojō Schools.
Munetoshi (宗利) — Mainline · 1037-1040. Smith of the Sanjō & Gojō Schools.
Muneyasu (宗安) — Mainline · 1040-1044. Smith of the Sanjō & Gojō Schools.
Nagayasu (永保) — Mainline · 1234-1235. Smith of the Sanjō & Gojō Schools.
Nihonichi (日本一) — Mainline · 1182-1184. Smith of the Sanjō & Gojō Schools.
Norihiro (法天) — Mainline · 1156-1159. Smith of the Sanjō & Gojō Schools.
Norimori (則守) — Mainline · 1278-1288. Smith of the Sanjō & Gojō Schools.
Norisada (則貞) — Mainline · 1394-1428. Smith of the Sanjō & Gojō Schools.
Norisue (則末) — Mainline · 1181-1182. Smith of the Sanjō & Gojō Schools.
Norisue (則末) — Mainline · 1053-1058. Smith of the Sanjō & Gojō Schools.
Sadachika (定近) — Mainline · 1012-1017. Smith of the Sanjō & Gojō Schools.
Sadachika (定近) — Mainline · 1181-1182. Smith of the Sanjō & Gojō Schools.
Sadanaga (定永) — Mainline · 1229-1232. Smith of the Sanjō & Gojō Schools.
Sanekiyo (真清) — Mainline · 1087-1094. Smith of the Sanjō & Gojō Schools.
Sanekuni (真國) — Mainline · 1058-1065. Smith of the Sanjō & Gojō Schools.
Sanekuni (真國) — Mainline · 1204-1206. Smith of the Sanjō & Gojō Schools.
Sanenari (真成) — Mainline · 1160-1161. Smith of the Sanjō & Gojō Schools.
Sanenori (眞則) — Mainline · 1040-1044. Smith of the Sanjō & Gojō Schools.
Sanetoshi (真利) — Mainline · 1017-1021. Smith of the Sanjō & Gojō Schools.
Shigeto (重遠) — Mainline · 1211-1213. Smith of the Sanjō & Gojō Schools.
Sueyuki (末行) — Mainline · 983-985. Smith of the Sanjō & Gojō Schools.
Suketomo (助友) — Mainline · 1004-1012. Smith of the Sanjō & Gojō Schools.
Tametoshi (爲利) — Mainline · 1159-1160. Smith of the Sanjō & Gojō Schools.
Tameyoshi (爲吉) — Mainline · 1099-1104. Smith of the Sanjō & Gojō Schools.
Tameyoshi (爲義) — Mainline · 1144-1145. Smith of the Sanjō & Gojō Schools.
Yoshihiro (吉廣) — Mainline · 1040-1044. Smith of the Sanjō & Gojō Schools.
Yoshihiro (吉廣) — Mainline · 1329-1331. Smith of the Sanjō & Gojō Schools.
Yoshihiro (吉廣) — Mainline · 1368-1375. Smith of the Sanjō & Gojō Schools.
Yoshikuni (吉國) — Mainline · 1185-1190. Smith of the Sanjō & Gojō Schools.
Yoshimori (吉盛) — Mainline · 1053-1058. Smith of the Sanjō & Gojō Schools.
Yoshimori (吉盛) — Mainline · 1394-1428. Smith of the Sanjō & Gojō Schools.
Yoshinori (吉則) — Mainline · 1040-1044. Smith of the Sanjō & Gojō Schools.