In a ward of Osafune called Hatakeda, the smith Moriie kept a forge in the mid-Kamakura — a collateral Bizen line that signed not "Hatakeda" but "Osafune," so close did it sit to the great Bizen centre. Across Moriie, Sanemori, Mitsumori, and Morishige the school carried a signature all its own: a jihada that stands up in active, textured grain, and an exuberant kawazu-ko chōji — "frog-spawn" clover heads — bursting through a bright, midare-utsuri ground. Moriie's range ran from gorgeously disordered chōji clusters to quiet, austere suguha; by the Nanbokuchō his line had folded back into the Osafune mainstream it grew beside.
Era
1230 — 1370
Members
15
Kokuhō
0
Jūbun
18
Jūbi
18
Tokujū
14
Jūyō
106
For Sale
3
15smiths0Kokuhō18Jūbun18Jūbi14Tokujū106Jūyō
Other smiths of this phase— students & parallel lines
The The Bizen Hatakeda School (畠田), active 1230–1370 in Bizen Province across 15 documented smiths: 0 Kokuhō (National Treasures), 18 Jūbun, 18 Jūbi, 14 Tokubetsu Jūyō, 106 Jūyō.
Phase 1 · The Bizen Hatakeda School (畠田) · 1230 – 1370
Moriie (守家) — Mainline · 1259-1260. Jūbun, Jūbi, Tokujū, Jūyō. Hatakeda Morie (also read Moriie) takes his name from the locality of Hatakeda in Bizen Province, a subdivision within the village of Osafune where he maintained his forge. Scholars have long debated whether the name represents one smith or two successive generations: the first is conventionally placed as a contemporary of Osafune Mitsutada, and the second as active alongside Nagamitsu, with the earliest dated work bearing the inscription Bun'ei 9 (1272) and signed examples extending into the Nanbokucho era. No blade by Morie or his followers, including Sanemori and Masamori, has yet been found signed "Hatakeda-ju"; instead, they inscribe "Osafune-ju," reinforcing the understanding that Hatakeda was an administrative ward within the Osafune smithing district rather than a separate center. Through his pupils Morishige and Motoshige, the Hatakeda line continued to exert influence on Bizen production well beyond the mid-Kamakura period, and extant works provide indispensable material for substantiating this genealogical chain.
Morie's forging is characterized by *itame-hada* that conspicuously stands in the grain, a quality the NBTHK descriptions consistently term *hada-dachi*. Into this active surface, fine *ji-nie* adheres thickly and *chikei* enter with frequency, while vivid *midare-utsuri* rises throughout the blade, lending the *jigane* an unmistakable depth of activity. His signature tempering pattern is built on *choji-midare*, within which the distinctive *kawazu-ko-choji* — so called for its resemblance to clustered frog spawn — appears prominently alongside *fukuro-choji*, *gunome*, and elements tending toward *togari* shapes. The hardened edge is *nioi-gachi* with *ko-nie*, enriched by *kinsuji* and *sunagashi*, and the *nioiguchi* is characteristically bright and full, often conveying a soft, *urumi* quality. While the overwhelming majority of extant works display this flamboyant midare, a notable late-period tanto departs from convention by employing *kaku-gunome* as its primary element, a tempering vocabulary associated with final-phase Kamakura Osafune and thus valuable evidence for dating his later career.
Though Morie's workmanship is broadly cognate with the mainline Osafune masters of his era, the pronounced standing grain, the persistent chikei activity, and the exuberant kawazu-ko-choji establish a distinct artistic identity within the Bizen tradition. His oeuvre spans an unusually wide range of forms — tachi, kodachi, katana, wakizashi, tanto, and the exceedingly rare ken — and several blades preserve their original *ubu-nakago*, offering documentary value for the study of Kamakura-period sugata and signature conventions. Variations in his mei, particularly the relationship between large-character and small-character inscription styles and the occasional appending of a *kao*, remain central to the unresolved question of generational differentiation and continue to attract scholarly attention. Works attributed to this smith consistently exhibit ample *nikuoki* and sound preservation, and the finest examples achieve a balance of gorgeous decorative effect and dignified restraint that places Hatakeda Morie among the most accomplished smiths working in the shadow of the great Osafune lineage.
Moriie (守家) — Mainline · 1232-1233. Jūbun, Jūbi, Tokujū, Jūyō. Morie (守家), known as Hatakeda Morie because he resided at Hatakeda in Bizen Province, was a leading smith of the mid-Kamakura period whose workshop stood adjacent to Osafune. Although no blade by Morie or his successors has been found signed "Hatakeda-jū," several bear the inscription "Osafune-jū," leading scholars to conclude that Hatakeda was a subdivision within Osafune village. The prevailing view posits two generations bearing the same name: the first is regarded as a smith contemporary with Osafune Mitsutada, the founder of the Osafune lineage, and the second as a smith contemporaneous with Nagamitsu. However, a clear demarcation between the first and second generations remains a subject for future research, and there are also those who advocate a single-smith theory. The earliest dated extant work is a tachi inscribed Bun'ei 9 (1272), and blades with the same signature extend into the Nanbokucho period as far as the Koan and Kentoku eras. In style, Morie's workmanship shows points of commonality with contemporary Osafune masters, yet retains a character distinctly his own.
The NBTHK consistently identifies two distinguishing hallmarks of Morie's work: a *jihada* that tends toward *hada-dachi* (standing grain) and conspicuous *kawazu-ko chōji* (蛙子丁子) within the tempered edge. The forging is typically *itame-hada* mixed with *mokume*, upon which fine *ji-nie* thickly adheres, fine *chikei* enter, and vivid *midare-utsuri* stands out with clarity. The *hamon* is characteristically *chōji-midare*, frequently intermixing kawazu-ko chōji, *gunome*, and pointed elements; *ashi* and *yō* enter well; the temper is *nioi-gachi* with *ko-nie*; *kinsuji* and *sunagashi* run through; and the *nioiguchi* is bright and clear — repeatedly described as *saeru*. The *bōshi* most often enters in *midare-komi* with turnback in *ko-maru*, at times showing *hakikake*. Notably, Morie's output encompasses a considerable range: from gorgeously flamboyant works in which large chōji clusters become disordered into dramatic kawazu-ko formations, to comparatively calm pieces tempered in quiet *suguha* mixed with *ko-gunome* and *ko-notare*, exuding what the NBTHK describes as "a subdued, austere flavor." This breadth is itself regarded as a valuable document for understanding the relationship between Morie's workmanship and signature style.
Across repeated designations the NBTHK affirms that Morie's finest works display forging that is "well refined" with "vividly standing midare-utsuri," a hamon "rich in ashi and yō" whose nioiguchi conveys "a full and gentle sense of urumi," and a state of preservation that is "extremely kenzen." Works retaining an *ubu nakago* are singled out as preserving "the original state of an earlier age," and signed examples by the first generation are noted as comparatively few, further enhancing their documentary value. Extant ken by this smith are described as "a rarity today" of "high value as reference material." At his most characteristic, Morie produced blades that the NBTHK judges "splendid in effect yet overflowing with dignity" — work that, while firmly rooted in the Osafune idiom of the *Bizen-den*, achieves an unmistakable individual identity through the standing grain of the steel and the exuberant kawazu-ko chōji of the hardened edge.
Sanemori (眞守) — Mainline · 1288-1293. Jūbun, Jūbi, Tokujū, Jūyō. Sanemori (真守) is a name borne by two historically distinct smiths. The earlier figure, Ohara Sanemori of Hoki Province, is traditionally regarded as a son of Yasutsuna and belongs to the group of makers collectively known as Ko-Hoki, which flourished from the late Heian period into the early Kamakura period. The later and more prolific figure, Hatakeda Sanemori of Bizen Province, is traditionally regarded as a son of Moriie and was active at Osafune during the late Kamakura period. Extant works by Hatakeda Sanemori bear dated inscriptions from the Kenji (1275--1278), Koan (1278--1288), and Shoo (1288--1293) eras, making his period of activity clearly established. Many of his works carry a two-character signature, though examples also survive with a long inscription reading "Bizen no Kuni Osafune junin Samon no Jo Sanemori saku." His workmanship follows that of his father Moriie, and the two are closely related in style, though the NBTHK consistently distinguishes the son by a tendency toward somewhat smaller-patterned irregularity.
Hatakeda Sanemori's signature technique is *choji-midare* emphasizing *kawazu-no-ko choji* -- tadpole-shaped clove patterns whose heads are rounded and whose waists constrict narrowly -- mixed with *gunome*, *ko-gunome*, and *togariba*, producing a flamboyantly varied temper. The *ura* side frequently shows especially conspicuous kawazu-no-ko choji, a recurring point of interest noted by NBTHK examiners as characteristic of the Hatakeda group. The forging is typically a closely packed *ko-itame-hada* with exceedingly fine *ji-nie* adhering thickly, fine *chikei*, and *midare-utsuri* that stands out vividly. The *nioiguchi* is bright and clear, the temper is *nioi*-dominant with *ko-nie*, and activities such as *kinsuji*, *sunagashi*, and scattered *tobiyaki* are frequently observed. By contrast, Ohara Sanemori of Ko-Hoki displays an *itame-hada* mixed with *o-itame*, *mokume*, and *nagare-hada* that tends toward *hada-dachi*, with *jifu-utsuri*, a blackish steel tone, and a *nioiguchi* showing an *urumi* tendency -- features that take on a markedly rustic character distinct from the refined Bizen manner.
The NBTHK consistently characterizes Hatakeda Sanemori's work as following his father Moriie but distinguishable by the tendency for the irregular patterning to become somewhat smaller in scale and for the tempering not to show the pronounced rises and falls seen in Moriie's work. Several designated works are described as standing among the foremost examples attributed to this smith, termed "white eyebrow" pieces exhibiting notably exceptional workmanship. The tight forging, robust construction with ample *nikuoki*, and a condition in which both *ji* and *ha* are *kenzen* -- sound and well-preserved -- are frequently praised. Signed tachi with dated inscriptions combining residence, official title, and production date are singled out for exceptionally high documentary value. Works at first glance may call to mind a superior work by Nagamitsu, yet the slightly standing character of the *jihada* reveals the distinctive traits of the Hatakeda lineage. Across the body of designated works, Hatakeda Sanemori emerges as a master of florid, animated tempering within the Osafune mainstream, whose individual voice is distinguished from his father's by restraint in scale and a calm, clear brilliance in the hardened edge.
Mitsumori (光守) — Mainline · 1278-1288. Jūbi, Jūyō. Mitsumori has, since old times, been transmitted as a swordsmith of the Hatakeda school, active around the Shoo era (1288--1293) during the late Kamakura period. The *meikan* do not make his lineage clearly known; however, when one examines extant signed works, their brilliant *choji-midare* -- in which *kawazu-ko choji* is especially conspicuous -- readily suggests affiliation with the Moriie line, and there are points of correspondence in the manner of signing. The NBTHK has noted that his technical skill was quite accomplished and that he may have been a substitute craftsman for his teacher Moroie, though his *mei* characters differ from those of Moroie. Extant works bearing his signature are extremely few, making his blades quite rare; as representative examples, a tachi transmitted in the Hotta family and a wakizashi with an *orikaeshi-mei* transmitted in the Akimoto family -- both designated Important Art Objects -- are consistently cited across his designation records.
Mitsumori's work is defined by a flamboyant and ornate style. The *jigane* typically shows *itame-hada* mixed with *mokume*, at times tending toward *hada-dachi*, with extremely fine *ji-nie* adhering thickly and *chikei* entering well. A vivid *midare-utsuri* stands out across the surface. The *hamon* takes choji as its principal motif, incorporating *kawazu-ko choji*, *fukuro-choji*, *juka-choji*, *gunome*, and *togariba* in varying combinations -- forging a wide *yakihaba* and tempering a *nioi-deki* choji-midare of deep and splendid character. Within the tempered edge, *ashi* and *yo* enter profusely, producing a complex and varied character; *ko-nie* adheres in a nioi-dominant manner, with fine *kinsuji* and *sunagashi* running through and *tobiyaki* mingling along the *yakigashira*. The *nioiguchi* is consistently described as bright and clear. His signature, when present, is rendered in a large, strongly individual hand, cut with a somewhat fine chisel -- a manner described as typical for this smith.
The NBTHK repeatedly affirms that Mitsumori's works exhibit "a splendid and ornate style" and demonstrate "an excellent level of workmanship." Blades attributed to him are praised for good *nikuoki* -- well-retained flesh -- and for the manner in which diverse hamon elements produce "numerous points of connoisseurship." The overall aspect of his hardened edge is consistently connected to that seen in the signed reference works, while individual pieces are noted as "still richer in variation," conveying "a sense of openness and vigor." Given the extreme rarity of his surviving oeuvre, the NBTHK has observed that each signed example "merits particular attention" and is "precious as reference material." Mitsumori occupies a distinguished position within the Hatakeda lineage as a smith of accomplished skill whose flamboyant choji-midare, brilliant nioiguchi, and richly varied yakiba place him firmly within the grand tradition of late Kamakura Bizen craftsmanship.
Morishige (守重) — Mainline · 1275-1278. Jūbi, Jūyō. Morishige is traditionally transmitted as a swordsmith of the Hatakeda line within the Bizen Osafune school. According to the *meikan* (smith directories), he is recorded as a son of the second-generation Moriie and as the father of Motoshige, with extant dated works bearing era names spanning from Einin and Kagen through Showa, Bunpo, and Gen'o — all corresponding to the closing phase of the Kamakura period. Distinguishing a first and second generation Morishige is considered somewhat forced; in broad terms he should be regarded as a swordsmith of the late Kamakura period. Smiths using the same name succeeded the founder, and they continued working through the Muromachi period under what reference works identify as the Omiya group, so called because the founder is said to have moved from Omiya in Yamashiro. In all cases, however, their signatures state "Bishu Osafune-ju" (resident of Osafune in Bizen Province), making it clear that their place of work remained Osafune. The Muromachi-period generations are recorded from Oan (1368–1375) through to the end of the Muromachi period, with dated examples surviving from the Oei and Bunmei eras.
The Kamakura-period works characteristically display *itame-hada* — at times a dense *ko-itame* mixed with *mokume* — with *midare-utsuri* standing out vividly in the *ji*. The *hamon* is typically a *suguha-cho* basis mixed with *gunome*, into which *ko-ashi* and *saka-ashi* enter; the *nioiguchi* tends toward tightness (*shimari-gokoro*), and *ko-nie* adheres throughout. Some works exhibit *kataochi-gunome* reminiscent of Kagemitsu, revealing a pronounced Osafune character rather than a distinctly Hatakeda manner. Indeed, the presence of *midare-utsuri* in the forging and the *suguha-cho* composition with intermingled *gunome* share aspects in common with the style of the Nagamitsu group, suggesting that by this period the Hatakeda school had for the most part become assimilated into the Osafune tradition. Compared with Moriie, the workmanship tends to be subdued (*sabishii*), with a pronounced *ko-nie* tendency. The Muromachi-period generations, by contrast, are characterized by a more flamboyant, large-patterned *midareba*, featuring *koshi-biraki gunome* mixed with *choji*, accompanied by *tobiyaki*, *kinsuji*, and *sunagashi* — works that at a glance can be mistaken for Oei-Bizen in their showy manner.
Extant signed works by Morishige are exceedingly few, and it has not been possible to exhaustively examine the full range of his workmanship across all generations. Those examples that survive, however, provide valuable source material for understanding the breadth of his working range and the historical relationship between the Hatakeda and Osafune lineages. Several bear date inscriptions that serve as important reference points for the study of this smith. The overall workmanship — from the clarity of the *kane-iro* to the well-applied *ji-nie* and tight *nioiguchi* — demonstrates sound technical accomplishment, and the best examples are noted for being *kenzen* (well-preserved) in both *ji* and *ha*.
Moriie (守家) — Mainline · 1293-1299. Jūyō. Bizen Hatakeda Moriie (畠田守家) is so called because he resided at Hatakeda in Bizen Province. The prevailing view posits two generations bearing this name, considering the first a contemporary of Osafune Mitsutada and the second one active in the era of Nagamitsu; however, the NBTHK acknowledges that "a clear demarcation between the first and second generations remains a subject for future research," and there are scholars who advocate a single-smith theory. Beginning with a first generation who produced works bearing dates from the Bun'ei era, Moriie is represented by several generations extending through the Nanbokuchō period.
Moriie's workmanship resembles that of Osafune smiths of the same period, but is generally characterized by *jihada* that tends to stand up and by conspicuous *kawazu-ko chōji* (tadpole-roe *chōji*) in the hardened edge. His forging shows *itame-hada* tending toward *hada-dachi*, with fine *ji-nie* and prominent *midare-utsuri*. Within his output, however, there exists a notable range: alongside the florid, brilliantly *midare* works in which *chōji* stands out, the NBTHK identifies a calmer subset of quietly constructed *suguha* pieces that exude "a subdued, austere flavor" while still revealing the affinity with Osafune workmanship. This diversity is itself considered significant -- works in the restrained mode are valued as "a valuable document for understanding the range of Moriie's work and the relationship between his workmanship and signature style."
The NBTHK describes Moriie's signed works with their bold, large-handed chisel strokes as especially precious. His *tachi* present elegant Kamakura-period forms with high *koshizori* and marked *funbari*, and the retention of *ubu nakago* in several surviving examples is noted as particularly desirable. Whether in the flamboyant mode of *ō-chōji-midare* mixed with *kawazu-ko* or the quiet mode of narrow *suguha* with fine *kinsuji*, his works are consistently recognized as "excellent" and of good quality.
Munetsune (宗恒) — Mainline · 1150-1220. Tokujū. Smith of the Bizen Hatakeda School.
Other smiths
Iesuke (家助) — Mainline · 1394-1428. Smith of the Bizen Hatakeda School.
Morinaga (守長) — Mainline · 1326-1329. Morinaga (守長) is recorded in sword reference works as a resident of Osafune in Bizen Province. He is traditionally said to have been the grandson of the second-generation Moriie and the son of Morishige of the Hatakeda lineage. His period is given as Shochu (1324-1326), and it is further said that there were two generations using the name Morinaga, with the second placed in Shohei (1346-1370). A contemporaneous smith writing the name with a variant character, Morinaga (守永), is confirmed by a *tanto* bearing a date of Oan 6 (1373), establishing his activity firmly in the Nanbokucho period.
Surviving works by Morinaga display a forging of *itame-hada*, at times with flowing tendency or standing grain; *ji-nie* adheres, and *utsuri* appears. The *hamon* is characteristically *nie*-laden: a lively *midare* with *gunome* elements, mixed with *choji*, and enriched by frequent *sunagashi* and *kinsuji*. The *boshi* shows *midare-komi* with *hakikake*, ending in *yakizume* with a pointed tendency. As the NBTHK observes, "at first glance the vigorous, exuberant midare with conspicuous nie does not readily appear to be Bizen work," and the boshi features "bring it close to the group associated with Sa." This vigorous, *nie*-rich workmanship expresses the so-called *Soden Bizen* style, suggesting connections beyond the Hatakeda group to the lineages of Chogi and Motoshige. Morinaga appears to have been especially proficient at making *nagamaki*, as multiple *nagamaki-naoshi* examples survive among his works.
Extant works by this maker are not particularly numerous, and those retaining his signature are rare. Each piece constitutes valuable material for study -- both for understanding the reach of the Soden Bizen idiom within the Osafune collateral lineages and for documenting a smith whose workmanship, in its exuberant nie and Sa-like boshi, reveals a broader network of stylistic influence than the Hatakeda genealogy alone would suggest.
Morinaga (守長) — Mainline · 1356-1361. Smith of the Bizen Hatakeda School.
Moritoshi (守俊) — Mainline · 1288-1293. Smith of the Bizen Hatakeda School.
Morichika (守近) — Mainline · 1184-1185. Smith of the Bizen Hatakeda School.
Morisuke (守助) — Mainline · 1338-1342. Smith of the Bizen Hatakeda School.
Moritsune (守恒) — Mainline · 1324-1326. Smith of the Bizen Hatakeda School.
Tsuneie (經家) — Mainline · 1288-1293. Smith of the Bizen Hatakeda School.
Live·Hatakeda lineage
畠田
The Bizen Hatakeda School
In a ward of Osafune called Hatakeda, the smith Moriie kept a forge in the mid-Kamakura — a collateral Bizen line that signed not "Hatakeda" but "Osafune," so close did it sit to the great Bizen centre. Across Moriie, Sanemori, Mitsumori, and Morishige the school carried a signature all its own: a jihada that stands up in active, textured grain, and an exuberant kawazu-ko chōji — "frog-spawn" clover heads — bursting through a bright, midare-utsuri ground. Moriie's range ran from gorgeously disordered chōji clusters to quiet, austere suguha; by the Nanbokuchō his line had folded back into the Osafune mainstream it grew beside.
Era
1230 — 1370
Members
15
Kokuhō
0
Jūbun
18
Jūbi
18
Tokujū
14
Jūyō
106
For Sale
3
15smiths0Kokuhō18Jūbun18Jūbi14Tokujū106Jūyō
Other smiths of this phase— students & parallel lines
The The Bizen Hatakeda School (畠田), active 1230–1370 in Bizen Province across 15 documented smiths: 0 Kokuhō (National Treasures), 18 Jūbun, 18 Jūbi, 14 Tokubetsu Jūyō, 106 Jūyō.
Phase 1 · The Bizen Hatakeda School (畠田) · 1230 – 1370
Moriie (守家) — Mainline · 1259-1260. Jūbun, Jūbi, Tokujū, Jūyō. Hatakeda Morie (also read Moriie) takes his name from the locality of Hatakeda in Bizen Province, a subdivision within the village of Osafune where he maintained his forge. Scholars have long debated whether the name represents one smith or two successive generations: the first is conventionally placed as a contemporary of Osafune Mitsutada, and the second as active alongside Nagamitsu, with the earliest dated work bearing the inscription Bun'ei 9 (1272) and signed examples extending into the Nanbokucho era. No blade by Morie or his followers, including Sanemori and Masamori, has yet been found signed "Hatakeda-ju"; instead, they inscribe "Osafune-ju," reinforcing the understanding that Hatakeda was an administrative ward within the Osafune smithing district rather than a separate center. Through his pupils Morishige and Motoshige, the Hatakeda line continued to exert influence on Bizen production well beyond the mid-Kamakura period, and extant works provide indispensable material for substantiating this genealogical chain.
Morie's forging is characterized by *itame-hada* that conspicuously stands in the grain, a quality the NBTHK descriptions consistently term *hada-dachi*. Into this active surface, fine *ji-nie* adheres thickly and *chikei* enter with frequency, while vivid *midare-utsuri* rises throughout the blade, lending the *jigane* an unmistakable depth of activity. His signature tempering pattern is built on *choji-midare*, within which the distinctive *kawazu-ko-choji* — so called for its resemblance to clustered frog spawn — appears prominently alongside *fukuro-choji*, *gunome*, and elements tending toward *togari* shapes. The hardened edge is *nioi-gachi* with *ko-nie*, enriched by *kinsuji* and *sunagashi*, and the *nioiguchi* is characteristically bright and full, often conveying a soft, *urumi* quality. While the overwhelming majority of extant works display this flamboyant midare, a notable late-period tanto departs from convention by employing *kaku-gunome* as its primary element, a tempering vocabulary associated with final-phase Kamakura Osafune and thus valuable evidence for dating his later career.
Though Morie's workmanship is broadly cognate with the mainline Osafune masters of his era, the pronounced standing grain, the persistent chikei activity, and the exuberant kawazu-ko-choji establish a distinct artistic identity within the Bizen tradition. His oeuvre spans an unusually wide range of forms — tachi, kodachi, katana, wakizashi, tanto, and the exceedingly rare ken — and several blades preserve their original *ubu-nakago*, offering documentary value for the study of Kamakura-period sugata and signature conventions. Variations in his mei, particularly the relationship between large-character and small-character inscription styles and the occasional appending of a *kao*, remain central to the unresolved question of generational differentiation and continue to attract scholarly attention. Works attributed to this smith consistently exhibit ample *nikuoki* and sound preservation, and the finest examples achieve a balance of gorgeous decorative effect and dignified restraint that places Hatakeda Morie among the most accomplished smiths working in the shadow of the great Osafune lineage.
Moriie (守家) — Mainline · 1232-1233. Jūbun, Jūbi, Tokujū, Jūyō. Morie (守家), known as Hatakeda Morie because he resided at Hatakeda in Bizen Province, was a leading smith of the mid-Kamakura period whose workshop stood adjacent to Osafune. Although no blade by Morie or his successors has been found signed "Hatakeda-jū," several bear the inscription "Osafune-jū," leading scholars to conclude that Hatakeda was a subdivision within Osafune village. The prevailing view posits two generations bearing the same name: the first is regarded as a smith contemporary with Osafune Mitsutada, the founder of the Osafune lineage, and the second as a smith contemporaneous with Nagamitsu. However, a clear demarcation between the first and second generations remains a subject for future research, and there are also those who advocate a single-smith theory. The earliest dated extant work is a tachi inscribed Bun'ei 9 (1272), and blades with the same signature extend into the Nanbokucho period as far as the Koan and Kentoku eras. In style, Morie's workmanship shows points of commonality with contemporary Osafune masters, yet retains a character distinctly his own.
The NBTHK consistently identifies two distinguishing hallmarks of Morie's work: a *jihada* that tends toward *hada-dachi* (standing grain) and conspicuous *kawazu-ko chōji* (蛙子丁子) within the tempered edge. The forging is typically *itame-hada* mixed with *mokume*, upon which fine *ji-nie* thickly adheres, fine *chikei* enter, and vivid *midare-utsuri* stands out with clarity. The *hamon* is characteristically *chōji-midare*, frequently intermixing kawazu-ko chōji, *gunome*, and pointed elements; *ashi* and *yō* enter well; the temper is *nioi-gachi* with *ko-nie*; *kinsuji* and *sunagashi* run through; and the *nioiguchi* is bright and clear — repeatedly described as *saeru*. The *bōshi* most often enters in *midare-komi* with turnback in *ko-maru*, at times showing *hakikake*. Notably, Morie's output encompasses a considerable range: from gorgeously flamboyant works in which large chōji clusters become disordered into dramatic kawazu-ko formations, to comparatively calm pieces tempered in quiet *suguha* mixed with *ko-gunome* and *ko-notare*, exuding what the NBTHK describes as "a subdued, austere flavor." This breadth is itself regarded as a valuable document for understanding the relationship between Morie's workmanship and signature style.
Across repeated designations the NBTHK affirms that Morie's finest works display forging that is "well refined" with "vividly standing midare-utsuri," a hamon "rich in ashi and yō" whose nioiguchi conveys "a full and gentle sense of urumi," and a state of preservation that is "extremely kenzen." Works retaining an *ubu nakago* are singled out as preserving "the original state of an earlier age," and signed examples by the first generation are noted as comparatively few, further enhancing their documentary value. Extant ken by this smith are described as "a rarity today" of "high value as reference material." At his most characteristic, Morie produced blades that the NBTHK judges "splendid in effect yet overflowing with dignity" — work that, while firmly rooted in the Osafune idiom of the *Bizen-den*, achieves an unmistakable individual identity through the standing grain of the steel and the exuberant kawazu-ko chōji of the hardened edge.
Sanemori (眞守) — Mainline · 1288-1293. Jūbun, Jūbi, Tokujū, Jūyō. Sanemori (真守) is a name borne by two historically distinct smiths. The earlier figure, Ohara Sanemori of Hoki Province, is traditionally regarded as a son of Yasutsuna and belongs to the group of makers collectively known as Ko-Hoki, which flourished from the late Heian period into the early Kamakura period. The later and more prolific figure, Hatakeda Sanemori of Bizen Province, is traditionally regarded as a son of Moriie and was active at Osafune during the late Kamakura period. Extant works by Hatakeda Sanemori bear dated inscriptions from the Kenji (1275--1278), Koan (1278--1288), and Shoo (1288--1293) eras, making his period of activity clearly established. Many of his works carry a two-character signature, though examples also survive with a long inscription reading "Bizen no Kuni Osafune junin Samon no Jo Sanemori saku." His workmanship follows that of his father Moriie, and the two are closely related in style, though the NBTHK consistently distinguishes the son by a tendency toward somewhat smaller-patterned irregularity.
Hatakeda Sanemori's signature technique is *choji-midare* emphasizing *kawazu-no-ko choji* -- tadpole-shaped clove patterns whose heads are rounded and whose waists constrict narrowly -- mixed with *gunome*, *ko-gunome*, and *togariba*, producing a flamboyantly varied temper. The *ura* side frequently shows especially conspicuous kawazu-no-ko choji, a recurring point of interest noted by NBTHK examiners as characteristic of the Hatakeda group. The forging is typically a closely packed *ko-itame-hada* with exceedingly fine *ji-nie* adhering thickly, fine *chikei*, and *midare-utsuri* that stands out vividly. The *nioiguchi* is bright and clear, the temper is *nioi*-dominant with *ko-nie*, and activities such as *kinsuji*, *sunagashi*, and scattered *tobiyaki* are frequently observed. By contrast, Ohara Sanemori of Ko-Hoki displays an *itame-hada* mixed with *o-itame*, *mokume*, and *nagare-hada* that tends toward *hada-dachi*, with *jifu-utsuri*, a blackish steel tone, and a *nioiguchi* showing an *urumi* tendency -- features that take on a markedly rustic character distinct from the refined Bizen manner.
The NBTHK consistently characterizes Hatakeda Sanemori's work as following his father Moriie but distinguishable by the tendency for the irregular patterning to become somewhat smaller in scale and for the tempering not to show the pronounced rises and falls seen in Moriie's work. Several designated works are described as standing among the foremost examples attributed to this smith, termed "white eyebrow" pieces exhibiting notably exceptional workmanship. The tight forging, robust construction with ample *nikuoki*, and a condition in which both *ji* and *ha* are *kenzen* -- sound and well-preserved -- are frequently praised. Signed tachi with dated inscriptions combining residence, official title, and production date are singled out for exceptionally high documentary value. Works at first glance may call to mind a superior work by Nagamitsu, yet the slightly standing character of the *jihada* reveals the distinctive traits of the Hatakeda lineage. Across the body of designated works, Hatakeda Sanemori emerges as a master of florid, animated tempering within the Osafune mainstream, whose individual voice is distinguished from his father's by restraint in scale and a calm, clear brilliance in the hardened edge.
Mitsumori (光守) — Mainline · 1278-1288. Jūbi, Jūyō. Mitsumori has, since old times, been transmitted as a swordsmith of the Hatakeda school, active around the Shoo era (1288--1293) during the late Kamakura period. The *meikan* do not make his lineage clearly known; however, when one examines extant signed works, their brilliant *choji-midare* -- in which *kawazu-ko choji* is especially conspicuous -- readily suggests affiliation with the Moriie line, and there are points of correspondence in the manner of signing. The NBTHK has noted that his technical skill was quite accomplished and that he may have been a substitute craftsman for his teacher Moroie, though his *mei* characters differ from those of Moroie. Extant works bearing his signature are extremely few, making his blades quite rare; as representative examples, a tachi transmitted in the Hotta family and a wakizashi with an *orikaeshi-mei* transmitted in the Akimoto family -- both designated Important Art Objects -- are consistently cited across his designation records.
Mitsumori's work is defined by a flamboyant and ornate style. The *jigane* typically shows *itame-hada* mixed with *mokume*, at times tending toward *hada-dachi*, with extremely fine *ji-nie* adhering thickly and *chikei* entering well. A vivid *midare-utsuri* stands out across the surface. The *hamon* takes choji as its principal motif, incorporating *kawazu-ko choji*, *fukuro-choji*, *juka-choji*, *gunome*, and *togariba* in varying combinations -- forging a wide *yakihaba* and tempering a *nioi-deki* choji-midare of deep and splendid character. Within the tempered edge, *ashi* and *yo* enter profusely, producing a complex and varied character; *ko-nie* adheres in a nioi-dominant manner, with fine *kinsuji* and *sunagashi* running through and *tobiyaki* mingling along the *yakigashira*. The *nioiguchi* is consistently described as bright and clear. His signature, when present, is rendered in a large, strongly individual hand, cut with a somewhat fine chisel -- a manner described as typical for this smith.
The NBTHK repeatedly affirms that Mitsumori's works exhibit "a splendid and ornate style" and demonstrate "an excellent level of workmanship." Blades attributed to him are praised for good *nikuoki* -- well-retained flesh -- and for the manner in which diverse hamon elements produce "numerous points of connoisseurship." The overall aspect of his hardened edge is consistently connected to that seen in the signed reference works, while individual pieces are noted as "still richer in variation," conveying "a sense of openness and vigor." Given the extreme rarity of his surviving oeuvre, the NBTHK has observed that each signed example "merits particular attention" and is "precious as reference material." Mitsumori occupies a distinguished position within the Hatakeda lineage as a smith of accomplished skill whose flamboyant choji-midare, brilliant nioiguchi, and richly varied yakiba place him firmly within the grand tradition of late Kamakura Bizen craftsmanship.
Morishige (守重) — Mainline · 1275-1278. Jūbi, Jūyō. Morishige is traditionally transmitted as a swordsmith of the Hatakeda line within the Bizen Osafune school. According to the *meikan* (smith directories), he is recorded as a son of the second-generation Moriie and as the father of Motoshige, with extant dated works bearing era names spanning from Einin and Kagen through Showa, Bunpo, and Gen'o — all corresponding to the closing phase of the Kamakura period. Distinguishing a first and second generation Morishige is considered somewhat forced; in broad terms he should be regarded as a swordsmith of the late Kamakura period. Smiths using the same name succeeded the founder, and they continued working through the Muromachi period under what reference works identify as the Omiya group, so called because the founder is said to have moved from Omiya in Yamashiro. In all cases, however, their signatures state "Bishu Osafune-ju" (resident of Osafune in Bizen Province), making it clear that their place of work remained Osafune. The Muromachi-period generations are recorded from Oan (1368–1375) through to the end of the Muromachi period, with dated examples surviving from the Oei and Bunmei eras.
The Kamakura-period works characteristically display *itame-hada* — at times a dense *ko-itame* mixed with *mokume* — with *midare-utsuri* standing out vividly in the *ji*. The *hamon* is typically a *suguha-cho* basis mixed with *gunome*, into which *ko-ashi* and *saka-ashi* enter; the *nioiguchi* tends toward tightness (*shimari-gokoro*), and *ko-nie* adheres throughout. Some works exhibit *kataochi-gunome* reminiscent of Kagemitsu, revealing a pronounced Osafune character rather than a distinctly Hatakeda manner. Indeed, the presence of *midare-utsuri* in the forging and the *suguha-cho* composition with intermingled *gunome* share aspects in common with the style of the Nagamitsu group, suggesting that by this period the Hatakeda school had for the most part become assimilated into the Osafune tradition. Compared with Moriie, the workmanship tends to be subdued (*sabishii*), with a pronounced *ko-nie* tendency. The Muromachi-period generations, by contrast, are characterized by a more flamboyant, large-patterned *midareba*, featuring *koshi-biraki gunome* mixed with *choji*, accompanied by *tobiyaki*, *kinsuji*, and *sunagashi* — works that at a glance can be mistaken for Oei-Bizen in their showy manner.
Extant signed works by Morishige are exceedingly few, and it has not been possible to exhaustively examine the full range of his workmanship across all generations. Those examples that survive, however, provide valuable source material for understanding the breadth of his working range and the historical relationship between the Hatakeda and Osafune lineages. Several bear date inscriptions that serve as important reference points for the study of this smith. The overall workmanship — from the clarity of the *kane-iro* to the well-applied *ji-nie* and tight *nioiguchi* — demonstrates sound technical accomplishment, and the best examples are noted for being *kenzen* (well-preserved) in both *ji* and *ha*.
Moriie (守家) — Mainline · 1293-1299. Jūyō. Bizen Hatakeda Moriie (畠田守家) is so called because he resided at Hatakeda in Bizen Province. The prevailing view posits two generations bearing this name, considering the first a contemporary of Osafune Mitsutada and the second one active in the era of Nagamitsu; however, the NBTHK acknowledges that "a clear demarcation between the first and second generations remains a subject for future research," and there are scholars who advocate a single-smith theory. Beginning with a first generation who produced works bearing dates from the Bun'ei era, Moriie is represented by several generations extending through the Nanbokuchō period.
Moriie's workmanship resembles that of Osafune smiths of the same period, but is generally characterized by *jihada* that tends to stand up and by conspicuous *kawazu-ko chōji* (tadpole-roe *chōji*) in the hardened edge. His forging shows *itame-hada* tending toward *hada-dachi*, with fine *ji-nie* and prominent *midare-utsuri*. Within his output, however, there exists a notable range: alongside the florid, brilliantly *midare* works in which *chōji* stands out, the NBTHK identifies a calmer subset of quietly constructed *suguha* pieces that exude "a subdued, austere flavor" while still revealing the affinity with Osafune workmanship. This diversity is itself considered significant -- works in the restrained mode are valued as "a valuable document for understanding the range of Moriie's work and the relationship between his workmanship and signature style."
The NBTHK describes Moriie's signed works with their bold, large-handed chisel strokes as especially precious. His *tachi* present elegant Kamakura-period forms with high *koshizori* and marked *funbari*, and the retention of *ubu nakago* in several surviving examples is noted as particularly desirable. Whether in the flamboyant mode of *ō-chōji-midare* mixed with *kawazu-ko* or the quiet mode of narrow *suguha* with fine *kinsuji*, his works are consistently recognized as "excellent" and of good quality.
Munetsune (宗恒) — Mainline · 1150-1220. Tokujū. Smith of the Bizen Hatakeda School.
Other smiths
Iesuke (家助) — Mainline · 1394-1428. Smith of the Bizen Hatakeda School.
Morinaga (守長) — Mainline · 1326-1329. Morinaga (守長) is recorded in sword reference works as a resident of Osafune in Bizen Province. He is traditionally said to have been the grandson of the second-generation Moriie and the son of Morishige of the Hatakeda lineage. His period is given as Shochu (1324-1326), and it is further said that there were two generations using the name Morinaga, with the second placed in Shohei (1346-1370). A contemporaneous smith writing the name with a variant character, Morinaga (守永), is confirmed by a *tanto* bearing a date of Oan 6 (1373), establishing his activity firmly in the Nanbokucho period.
Surviving works by Morinaga display a forging of *itame-hada*, at times with flowing tendency or standing grain; *ji-nie* adheres, and *utsuri* appears. The *hamon* is characteristically *nie*-laden: a lively *midare* with *gunome* elements, mixed with *choji*, and enriched by frequent *sunagashi* and *kinsuji*. The *boshi* shows *midare-komi* with *hakikake*, ending in *yakizume* with a pointed tendency. As the NBTHK observes, "at first glance the vigorous, exuberant midare with conspicuous nie does not readily appear to be Bizen work," and the boshi features "bring it close to the group associated with Sa." This vigorous, *nie*-rich workmanship expresses the so-called *Soden Bizen* style, suggesting connections beyond the Hatakeda group to the lineages of Chogi and Motoshige. Morinaga appears to have been especially proficient at making *nagamaki*, as multiple *nagamaki-naoshi* examples survive among his works.
Extant works by this maker are not particularly numerous, and those retaining his signature are rare. Each piece constitutes valuable material for study -- both for understanding the reach of the Soden Bizen idiom within the Osafune collateral lineages and for documenting a smith whose workmanship, in its exuberant nie and Sa-like boshi, reveals a broader network of stylistic influence than the Hatakeda genealogy alone would suggest.
Morinaga (守長) — Mainline · 1356-1361. Smith of the Bizen Hatakeda School.
Moritoshi (守俊) — Mainline · 1288-1293. Smith of the Bizen Hatakeda School.
Morichika (守近) — Mainline · 1184-1185. Smith of the Bizen Hatakeda School.
Morisuke (守助) — Mainline · 1338-1342. Smith of the Bizen Hatakeda School.
Moritsune (守恒) — Mainline · 1324-1326. Smith of the Bizen Hatakeda School.
Tsuneie (經家) — Mainline · 1288-1293. Smith of the Bizen Hatakeda School.