The forge-town that armed a country at war. From the late Kamakura period, Seki in Mino Province grew into the principal centre of the Mino tradition — its roots traced to the Sōshū school through Kinju (Kaneshige), counted among the Ten Great Disciples of Masamune. Through the Sengoku era its smiths, led by names such as Kanesada and Kanemoto, forged the sharp, battle-ready blades most prized by the warriors of the age.
The The Mino Seki School (関), active 1330–1600 in Mino Province across 309 documented smiths: 0 Kokuhō (National Treasures), 0 Jūbun, 5 Jūbi, 4 Tokubetsu Jūyō, 224 Jūyō.
Kanemoto (兼元) — Mainline · 1521-1528. Jūbi, Jūyō. Among the Mino smiths of the late Muromachi period the published sources name Kanemoto, beside Kanesada, as one of the two representatives of the Seki tradition. The name was carried by several generations, but it is the second, the smith the world singles out as Magoroku Kanemoto, who is held the most technically accomplished, and whose bold two-character signed blades fix the kantei. He worked at Akasaka in Mino, where the family used Magoroku as its hereditary common name; the long signatures reading "Nōshū Akasaka-jū Kanemoto" with dates in the Meiō and Eishō years anchor the first generation, while the niji-mei pieces are read as this prized second hand. There are no examined two-character signed examples bearing a date, so the published commentary places his attribution on the manner of the signature and on the temper rather than on a year-mark, and frankly notes that distinguishing the generations is not yet settled.
The core of his work is the *hamon* called *sanbon-sugi*, the *togariba* (three-cedar) temper he is credited with originating, a run of pointed *gunome* forged in linked clusters. What the judges return to, blade after blade, is that the second generation does not rule it into uniform threes: "the heads of the *gunome* become rounded in places, showing change, and the hallmark is that the pattern is not standardized"[[c:1]]. The temper rises and falls in a cursive, *gyōsō* line, breaking from threes into the "twos, fours and fives" the commentary calls *nihonsugi*, *yonhonsugi* and *gohonsugi*[[c:2]], where the later generations of the line grow sharp-angled and geometric. *Ashi* enter well, the *nioiguchi* is *nioi*-dominant and bright, *sunagashi* runs through, and on his finest blades *kinsuji*, *yubashiri* and *tobiyaki* gather; one published entry singles a katana out as "an especially cursive, freely irregular *sanbon-sugi*, the most among works of this same hand"[[c:3]].
The *jigane* is the Mino constant beneath that temper. It is an *itame* mixed with *mokume*, flowing and standing a little with a *masame*-leaning tendency, fine *ji-nie* adhering and *chikei* entering, over which rises the whitish *shirake-utsuri* of Seki steel, the misty reflection that marks a Mino blade. The *bōshi* answers the edge: it runs in *midare-komi* to a *jizō*-like small round, the return often leaning, with *hakikake* at the point. The *sugata* is robust and practical, a Sue-Seki sword made for use: *shinogi-zukuri* katana of somewhat wide body with strong *sakizori* and an extended *chū-kissaki*, and *hira-zukuri* tantō with *mitsu-mune* and *uchizori*.
Not every blade keeps the *sanbon-sugi*. A small group leaves it for a quiet *suguha*, which the commentary treats as proof of range rather than the norm; of one katana it remarks that "Kanemoto tempers a *suguha*, rare for him"[[c:4]], and dates such as Daiei 7 and Kyōroku 2 on these pieces supply the scarce year-marks that documentation otherwise lacks. One *suguha* tantō is judged a *Rai-utsushi*, an emulation of Kyoto work that "evokes Kaneyuki"[[c:5]], elegant in shape and in *ji* and *ha*; the published note adds that a tell of the smiths working in this Rai manner is the leaning *bōshi*, which the blade shows. Carvings are uncommon in his work, and *bonji* in particular are rare, recorded on a single wakizashi.
What sets the second generation apart is therefore drawn from his own work, not from a borrowed comparison: the rounded, cursive *sanbon-sugi* that refuses to become a template, the bright *nioiguchi* over a Seki *jigane*, and the leaning *jizō* *bōshi*. The published commentary repeatedly places him at the head of the Sue-Seki smiths, calling individual blades typical yet outstanding work of Magoroku Kanemoto, and reading the geometric, ruled *sanbon-sugi* as the mark of the later generations he stands before.
Fujishiro grades him Jō-jō saku. Thirty designated works stand on record, with no National Treasure, no Important Cultural Property and no Tokubetsu Jūyō blade among them: twenty-seven Jūyō Tōken; one Jūyō Bijutsuhin, the so-called Aoki Kanemoto said to have cut down Magara Masataka at the Battle of Anegawa; and two katana recorded in Honma's inventory of the Imperial collection. That inventory, illustrating both in *sanbon-sugi*, adds that Kanemoto also made *suguha* and rarely *hitatsura*, but that *sanbon-sugi* was the temper he did best[[c:6]]. His provenance reads as a roll of warrior houses that prized a cutting blade: the Echizen Matsudaira, the Yagyū family, Tani Tateki, and Makishima Kenmotsu Akishige, whose ownership is recorded in the gold-inlaid inscription that gives one katana the name Sasatsuyu Kanemoto. Because almost nothing in this body of work sits in the locked tiers, a signed Magoroku Kanemoto is among the more attainable of the genuinely famous koto names, yet a fine, soundly preserved niji-mei example with documented provenance comes to market only from time to time, and is a notable thing for a collector to encounter when it does.
Kanesada (兼定) — Mainline · 1492-1515. Jūbi, Tokujū, Jūyō. Kanesada is the second-generation Izumi no Kami Kanesada of Seki in Mino, the smith universally called "Nosada" because he cut the character *sada* (定) with the element inside the u-crown formed as 之. The published sources place his working life across the Meio years into Daiei, in the closing decades of the Muromachi period, and rank him with Kanemoto as a representative Mino smith of his age. He was, as the published commentary notes, a rare case in the *kotO* era of a smith granted the court title Izumi no Kami, and he often cut the Fujiwara surname as well. The first generation having signed plainly, it was this hand that carried the name to its height, and the swordbooks call him simply "an excellent master"[[c:1]]. The change from a standard-script *sada* to the 之 form that earned him his nickname is placed by the published sources around the eleventh month of Meio 8 and before the eighth month of Meio 9; the third-generation "Hikisada" is kept distinct from him.
His recognized strength is the lively Mino hand. The shape is the late-Muromachi katana, wide in body with *sakizori* and at times an *o-kissaki*, dignified and imposing, the *hiraniku* full as on a blade meant to cut. Over an *itame* that runs a little in places and is overall well forged, the *jigane* carries *ji-nie* and a whitish *shirake-utsuri*. The temper is a busy mixture, *gunome* with *choji* and pointed *togariba* elements, *nioi*-dominant with *ko-nie*, slight *ashi* and *yo*, *sunagashi* running through, and very slight *tobiyaki*. The *boshi* runs as a *midare-komi* with *hakikake*, tending to a pointed turnback. Of his finest piece in this manner the published commentary writes that the *ji* and *ha* are both clear and that it shows "the true strength of Nosada, the finest example among this smith's works"[[c:2]].
The *jigane* is the constant of his hand. Itame, sometimes tightening into *ko-itame* mixed with *mokume*, with *ji-nie* and a whitish cast, appears on nearly every blade; where the grain runs it leans toward *masame*, and the *utsuri* it carries is the pale *shirake* of Mino steel rather than the bright *midare-utsuri* of Bizen. That whitish *jigane* is itself the discriminator the judges return to, the feature that separates his work from the brighter Bizen *utsuri*. Over it the *nioiguchi* is laid tight and clear, the activity carried in *ashi*, *sunagashi* and *ko-nie*; one shortened katana widens toward the middle into a more flamboyant *midare* with *tobiyaki*, while the body of the temper stays a busy *gunome*.
His work divides into two registers, and the published sources draw the line themselves. Beside the lively Mino temper stands a deliberate Yamashiro imitation, a slender *suguha* over a closely packed *ko-itame*, which the commentary says was made with Rai Kunitoshi and the Yamashiro masters as the explicit target. Of this register the judges write that as a *Kyo-mono utsushi* among all the Kanesada, "none surpasses this example"[[c:3]]. The tell that the hand is still his is named in the same breath: even at this level of workmanship there is *fushi* within the edge, a faint *gunome* mingling in the otherwise quiet *suguha*, the shape leaning to *sakizori*, the itame turning whitish where Yamashiro steel would not. He worked the full range, katana, tanto and the rare naginata, and a small number of blades carry a chrysanthemum crest and the inscription that they were made at Yamada in Ise, the so-called Yamada-uchi pieces treasured for that mark.
What sets him apart within the Seki group is exactly what the judges name. Several Muromachi smiths cut the Kanesada name and a number held the Izumi no Kami title, so the published sources treat the generational divisions as not yet settled, and grant that at least four distinguishable hands cut the 之 form. Among them his signature style is "the most extolled, and in fact the most skillful"[[c:4]], the maker whose dated Eisho works the commentary singles out as the finest of the group. His bright, busy Mino temper over a whitish itame, and his slender Rai-styled suguha with its hidden *gunome*, are the grounded marks that hold him apart from the plainer Seki output around him; the published record calls his oeuvre "broad in scope and high in artistic value"[[c:5]].
For the collector he is a great late-*kotO* name, well represented but never common. Fujishiro grades him Jo-jo saku. He has no National Treasures and no Important Cultural Properties on this record; his standing is carried instead by one Tokubetsu Juyo and a long line of Juyo blades, with a Juyo Bijutsuhin tachi among them, and his blades pass through the highest daimyO provenance. The Tokubetsu Juyo katana was the personal sash-sword of Miura Shogen, chief retainer of the Kii Tokugawa house; one tachi was forged for Takeda Sakyo no Daibu Nobutora, father of Shingen; a chrysanthemum-crested katana points to an imperial connection, and his blades are recorded with the Shimazu, Satake, Kyogoku, Yamauchi and Akimoto houses and in the Sano Art Museum. With only a single piece in the Tokubetsu Juyo tier and the rest at Juyo and below, a signed Nosada comes to market from time to time rather than rarely, more findable than the great Kamakura names, yet a fine dated Eisho example with sound provenance remains a landmark when it appears, a sword by the smith the swordbooks call an excellent master.
Daido (大道) — Mainline · 1573-1592. Tokujū, Jūyō. From the end of the Muromachi period into the early *Shintō* era, several Mino swordsmiths bore the name Daidō. The most prominent among them was Mutsu no Kami Daidō, whose signed and dated works survive from the Tenshō era, with recorded dates including Tenshō 2 (1574), 4 (1576), 13, and 18 (1590). Other smiths of the name carried various court titles -- Izu no Kami, Mikawa no Kami, Kawachi no Kami, and Shinano no Kami -- while still others signed without titles as "Seki-jū Daidō," "Gifu-jū Daidō," or "Heianjō-jū Daidō." Among the Mino smiths of this period, Mutsu no Kami Daidō is regarded as particularly highly skilled, "standing alongside Wakasa no Kami Ujifusa."
Daidō's forging typically shows *ko-itame* mixed with *masame*, with fine *ji-nie* well applied. His *hamon* is characteristically an *ō-notare*-based *ko-gunome-midare*, or a shallow *notare* mixed with *ko-gunome*, *hakoba*, and *togari-ba*; the *nioiguchi* is consistently described as tight and clear, showing lively variation, with *ko-ashi* and *yō* and adhering *ko-nie*. His *bōshi* tends toward *midare-komi*, turning back in a Jizō-like manner or with a pointed tendency. His *sugata* favors wide *mihaba* with imposing, dignified constructions, and he produced both *katana* and *wakizashi* in *hira-zukuri*. The carvings found on certain works -- including renderings of "Namu Myōhō Renge Kyō" and *Kurikara* -- are noted as "superb."
The NBTHK consistently describes Daidō's workmanship in *jigane* and *hamon* as "excellent," with blades that are *kenzen* and of especially fine quality among his oeuvre. His technical ability is characterized as "extraordinary," and the dated inscriptions on his works -- particularly the Minamoto surname and Tenshō-era dates -- are valued as significant documentary records of late-Muromachi swordsmithing in Mino Province.
Kinju (金重) — Mainline · 1340-1346. Jūyō. Kinju, whose name the published commentary reads as Kaneshige, is counted since antiquity among the Masamune Jittetsu, the ten great disciples of Sōshū Masamune, and stands with Kaneuji at the headwaters of the Mino tradition. The published sources, citing the *Kokon Meizukushi*, give his Buddhist name as Dōa and his origin as Tsuruga in Echizen Province, recording that 'his Buddhist name was Dōa; a resident of Tsuruga in Echizen, an excellent master craftsman; he crossed over to Seki and resided there'[[c:1]]. Together with Kaneuji he is named the source of the Mino smiths, 'a founder, alongside Kaneuji, of the wellspring of Mino swordsmithing'[[c:2]]. The *Kōzan Oshigata* preserves two tantō dated to Jōji 2 (1363), which fix his Nanbokuchō activity, and his securely signed pieces do not go back before that period, so the published record treats his direct tie to Masamune as a matter of tradition rather than proof.
His hand is read as Mino-den held apart from the Shizu group, and the distinction the judges draw is precise. Where the Shizu work runs to pointed *togari-gunome*, Kaneshige tempers a calm line of *gunome* whose heads are round, set in a linked series: the published sources describe it as a temper 'in which, rather than pointed gunome, rounded-headed gunome run in a linked sequence'[[c:3]], accompanied by *ko-nie*, the whole 'calmer in overall impression than the Shizu group'[[c:4]]. Over that quieter *yakiba* he lays a shallow *notare* or a *suguha*-toned base mixed with small *togariba* and, on the mumei katana, *kataochi*-like *gunome*; *ashi* enter, the *nioiguchi* tends to brightness, and fine *kinsuji* and *sunagashi* run through the temper with *yubashiri* and *nie-hotsure* gathering along the *habuchi*. This activity in *nie* is the Sōshū inheritance carried into Mino steel, and the published commentary names it a key point of appreciation in his work.
The *jigane* is the constant tell. He forges an *itame* mixed with *mokume* and *nagare* that stands somewhat more than the Shizu *jigane* and runs toward *masame* near the edge, the steel laid with thick *ji-nie* and worked with frequent *chikei*, and on the long blades a whitish *shirake* often rises into an *utsuri*-like aspect. Where the forging tightens it becomes a compact *ko-itame*, as on the one signed tachi, with fine *ji-nie* densely set; where it opens it stands a little, the grain showing on the surface. The *bōshi* answers the temper, running *midare-komi* to a small round or a *yakizume*-toned point and swept into *hakikake*, sometimes with *kinsuji* entering the turnback. Across both his registers the *jigane* and its standing grain, more than any single feature of the edge, is what the judges read first.
Two faces divide his record. The first is the research base: a small number of ubu, two-character signed *hira-zukuri* tantō and wakizashi, wide in body with thin *kasane*, several elongated in the Enbun-Jōji *sun-nobi* proportion, and one rediscovered signed tachi, suriage but holding its *koshizori*, that runs a continuous *ko-gunome* from base to point. These signed pieces are not uniform in manner: some are a quiet *notare*, some a linked *ko-gunome*, and the published sources note that a few run to a *hitatsura*-like full temper, evidence that the manner of the name is varied. At the base of the tantō he carves a devotional program, *gomabashi* and a *koshi-hi*, a raised *suken*, paired *bonji*, and on one wakizashi a four-pillar *dai-dangu* motif read as a symbol of Fudō. The second face is the larger one, the *ō-suriage* mumei katana and *naginata-naoshi* judged *den* Kaneshige, wide and imposing in the Nanbokuchō form, whose attribution rests on era and school where no single decisive tell settles it. Of the rediscovered signed tachi the published sources stress the weight of the find, 'the significance of confirming this work as a signed tachi by Kaneshige is therefore considerable'[[c:5]], for until then his long blades were known only as mumei attributions.
What sets Kaneshige apart within Mino is exactly what the judges name. He is held away from the Shizu group by the quieter, rounder *gunome* and the more standing grain, the published commentary repeatedly affirming that his work 'differs in character from that of the Shizu group'[[c:6]] while remaining unmistakably Mino-den of the Nanbokuchō. He is the founder beside Kaneuji rather than a follower, the smith whose calmer, *nie*-laden manner gave the Seki tradition one of its two roots; the workshops of Seki carried that Mino-den hand forward into the Muromachi, when the province became one of the great centers of sword production. The name continues past the founder: the judges assign one katana and one wakizashi expressly to a second generation, and a signed tantō of Muromachi form to a later bearer of the name, and those works are recorded under their own entries.
For the collector he is a rare and early Mino name. Fujishiro grades him Jō-jō saku. He has no National Treasures and no Important Cultural Properties; his record runs instead entirely through the Jūyō tier, forty-two blades on official record, the great majority *ō-suriage* mumei katana judged *den* Kaneshige and only a handful the precious signed tantō, wakizashi and the single signed tachi that anchor study of the name. His blades are preserved in long-held collections and institutions, the Kyoto National Museum among them, and his provenance reaches the Tokugawa shogunal house: one signed tantō was presented to the shogun's family in 1679 to mark the birth of the heir Tokumatsu, passing through the hatamoto Soga Nakasuke. Because almost nothing of his survives signed and the long blades trade only at the upper Jūyō level, a signed Kaneshige is among the rarer things a collector of Mino-den could hope to encounter, coming to light only seldom and, when it does, standing as a document of how the Mino tradition began.
Tofuji (外藤) — Mainline · 1394-1428. Jūyō. Smith of the Mino Seki School.
Ujisada (氏貞) — Mainline · 1558-1592. Jūbi, Jūyō. Ujisada is traditionally regarded as the son of the first-generation Wakasa no Kami Ujifusa of Seki in Mino province, and as the younger brother of the second-generation Wakasa no Kami Ujifusa. Active during the closing decades of the Muromachi period, with dated works spanning from Tensho 3 (1575) through Tensho 7 (1579), he occupied a distinguished position within the Sue-Seki group. He received the court title Izumo no Kami and signed variously as Sakon Shosho, Sakon Gonshosho, and Gonshosho. The sobriquet "Ikoku Ujisada" is said to have been bestowed in praise of the superb quality of his workmanship, an appellation reportedly arising when a discerning warrior requested one of his blades in preference to a sword from another province.
In the usual style of this smith, one finds a forging texture showing a combination of tight *ko-itame* with a *masame*-inclined character, and a temper that forms a gently undulating, shallow and broad *notare*, into which *hako*-shaped elements are mixed -- features that well display the characteristics of the Sue-Seki group and in particular of the Ujifusa line. His works range from katana exhibiting large *notare* that hardens into *o-midare* with *tobiyaki* assuming a *minayaki*-like character, to tanto bearing *notare* mixed with *gunome* in which slight *ashi* and *yo* enter with a tightening *nioiguchi*, according well with the transmitted manner of his master. Among tanto, many works bear skillfully executed carvings, placing "grass" *kurikara* or *horimono* such as *gomabashi* with *rendai* -- a hallmark of the line.
Across the body of designated works, the NBTHK repeatedly observes that Ujisada's blades "clearly display the characteristic features of this smith" and that the workmanship in both *ji* and *ha* is excellent. His finest pieces are distinguished by brightness and clarity in the steel -- both *jihada* and temper described as *saeru* -- to such a degree that one designated example is characterized as giving an impression that could be mistaken for a superior work by Kotetsu. The consistent presence of dated inscriptions among his surviving works adds documentary value to an oeuvre that stands as a representative achievement of late Seki craftsmanship.
Kanefusa (兼房) — Mainline · 1558-1570. Tokujū, Jūyō. Kanefusa is among the best-known smiths of the Mino tradition in the Muromachi period, working from the town of Seki in Noshu. According to sword-signature reference works, his origins lie with the Akasaka smiths, and the first generation is considered to have been Shigefusa, active around the Kakitsu era (1441-1444). The name continued under successive generations from the mid-Muromachi period into the *shinto* era. Among extant dated works, examples are recorded from the Bunmei, Tenbun, Eiroku, and Tensho eras, with the greatest number of surviving pieces — including those bearing two-character signatures — dating from approximately Eiroku through Tensho. Most long-signature examples are cut "Noshu Seki-ju," confirming that the smith resided in Seki.
Kanefusa is particularly famed for having devised the temper pattern known as "Kanefusa *midare*" (also termed *Kenbo midare*), an idiosyncratic *gunome-choji* whose heads are rounded and whose waists constrict. Beyond this signature style, works also appear in *notare* and in *sanbonsugi-midare* in the manner of Kanemoto, demonstrating a broad range of expression. The forging typically shows *itame-hada* with a tendency toward *nagare*, accompanied by *ji-nie* and an overall *shirake-gokoro* — a whitish cast characteristic of Mino workmanship. The *nioiguchi* tends toward tightness with *ko-nie* adhering, and finer examples display *tobiyaki* and *muneyaki* interspersed throughout, producing a varied and lively temper. The bold, vigorous style associated with later Mino workmanship is consistently evident.
Kanefusa's best works are praised by the NBTHK as notably vigorous and full of spirited force, with ample *nikuoki* and robust overall shape deemed particularly pleasing. Blades in sound condition are recognized as *kenzen*, with both *ji* and *ha* well executed. The flamboyant expression of the distinctive *midare*, combined with wide *mihaba* and *o-kissaki*, produces an imposing *sugata* of dignified presence. Several designated examples also bear gold-inlaid cutting-test inscriptions of considerable documentary value, attesting to the practical esteem in which these blades were held during the Edo period.
Kanetane (兼植) — Mainline · 1615-1624. Tokujū, Jūyō. Kaneue traces his origins to the smiths of Gino in Mino Province, who later migrated to Echizen. The NBTHK identifies from his signature "a connection to the line of the Seki smiths," and positions the first generation's activity in the Keicho era, squarely within the formative period of *shinto* production. Several generations bearing the same name succeeded one another — the *meikan* records successive smiths through Kan'ei, Enpo, and Genroku — each producing skillful work and transmitting the vestiges of the *Seki-fu* (Seki style). Because the shodai Echizen Kaneue's style and carvings share features common to the Echizen Shimosaka group, "it may be supposed that the shodai Echizen Kaneue was perhaps originally from Mino, assimilated early with the Shimosaka smiths of Omi, and later moved to Echizen."
The characteristic *sugata* of Kaneue's work presents the archetypal Keicho shinto form: wide *mihaba* with minimal narrowing from base to tip, thick *kasane*, and an elongated *chu-kissaki* conveying a weighty, solid, and robust *taihai*. The *jihada* is *itame* mixed with *mokume*, with standing grain and a somewhat darkened "*kane*" tone described as "distinctive to northern-region workmanship." The *hamon* is narrow and fundamentally *suguha*, with shallow, small *notare* and a running admixture of small *gunome*; abundant *ko-ashi*, interspersed *yo*, *ko-nie*, and finely applied *sunagashi* produce what the NBTHK characterizes as "a calm and restrained style" in which "there is, in one vein, something that corresponds to the manner of Higo Daijo Sadakuni." The carvings — particularly the *kurikara* in relief within the *hitsu* — are "deeply cut and forceful in their incision" and display the characteristics of *Kinai-bori*, comparable to those seen on works by Yasutsugu of the same province.
The NBTHK reserves its highest praise for the shodai's work, declaring his Tokubetsu-Juyo katana to be "the shodai Echizen Kaneue's finest work, and among his extant pieces no superior example is seen." Both *jigane* and tempering are described as "outstanding among this smith's works," and the workmanship in *ji* and *ha* is called "exceptionally splendid." His production is recognized as embodying a Mino-Seki manner distinct from the Yasutsugu lineage — a distinction the NBTHK credits as the very reason that "Echizen-Seki came to be celebrated."
Ujifusa (氏房) — Mainline · 1571-1592. Jūyō. Wakasa no Kami Ujifusa worked at Seki in Mino through the Genki and Tensho years of the late sixteenth century, and the published sources count him among the representative smiths of Sue-Seki, the last and largest body of the Mino tradition. He was the son of Seki Kanefusa, and the published record preserves a telling detail of his name: he at first succeeded to his father's name Kanefusa, and only later changed to Ujifusa, the character Uji said to have been granted to him by Imagawa Ujizane. He received the title Wakasa no Kami in Eiroku 13, and a Reiwa-designated katana still carries the residence inscription Bishu Kiyosu ju, the record of his removal in old age from Seki to Kiyosu in Owari. That move matters beyond his own work, for his son became Hida no Kami Ujifusa, the founder of the Owari Ujifusa line and one of the three founding masters of Owari shinto, so the father stands at the hinge where the old Mino tradition passes into the new Owari work.
His representative work is the broad katana, and a Genki-dated blade is the type: shinogi-zukuri with iori-mune, generous in mihaba with a chu- or large kissaki, several extended and a few slightly shortened, the build the published sources read as evidence that by the Genki years the uchigatana had grown long in place of the tachi and was carried in both hands. Over this body he tempers a notare or a broad large-gunome into which the pointed togariba of Mino enter, with ashi and yo, the nioiguchi running from tight and subdued to bright, ko-nie attached with sunagashi and patches of tobiyaki. The togariba mixed into the undulating temper is the Mino tell of his ordinary katana, the feature that places him squarely in the Seki body rather than to one side of it. The published record calls one such blade his representative work, a piece of imposing construction with a grand and open temper, a quiet superlative the institution rarely spends[[c:1]].
The jigane carries the same Seki character. His itame stands rather than tightening, flowing in places to nagare-hada with the masame gathering at the shinogi-ji, and ji-nie adheres over it, with chikei entering on his more vigorous blades. This standing, flowing jigane is the late-Mino surface, and it is the bed on which his nie and his tobiyaki sit; on a recent katana the published sources read a strong Genki-Tensho build with a robust open midare, the nioiguchi bright and the nie well gathered, the jigane and hamon alike well preserved. The boshi answers the temper below it, running midare-komi to a ko-maru on most of his katana and pointed and brushed in hakikake on others, while on a number of his blades the temper carries fully over the point in an ichimai face[[c:2]], the published sources reading one Reiwa-designated katana as an outright ichimai with the kaeri tempered long down the back and a Showa-designated blade as a midare-komi almost in the manner of ichimai turning back in ko-maru[[c:3]]; a plain bo-hi is carried through the blade. These are not the cool, regular Seki blades of the workshop average but the bolder, freer end of the tradition, and they are why the published sources hold work of this quality from his hand uncommon.
Against this broad katana manner stands a second and rarer face, seen on his tanto: a Yamashiro copy. A Tensho-dated hira-zukuri tanto is the surviving example, slightly wide for its length with a thick kasane and inner curvature, and over a ko-itame flowing overall, the masame especially strong on the omote, the ji-nie gathers finely and a whitish shirake-utsuri rises in the jigane. The temper is a narrow hoso-suguha, nioi-prevalent with a tight, controlled nioiguchi and ko-nie, the boshi running straight to a quiet ko-maru, the carving a gomabashi on the face and a koshi-bi at the base of the back. Of this register the published sources observe that the Seki work of the Genki-Tensho period often shows such Yamashiro-mono copies[[c:4]], and they rank this one as well composed and of fine quality, among Ujifusa's superior pieces[[c:5]]. The carving program reads off the form: where his katana carry the plain bo-hi, the devotional gomabashi and the short koshi-bi belong to the hira-zukuri tanto.
His place in the school is best taken from his own attested traits rather than borrowed comparison. He is a Sue-Seki smith whose hand is recognized in the standing itame, the togariba folded into a broad notare or large-gunome, and the occasional turn to a refined Yamashiro-copy suguha; the bright open midare and the bo-hi katana are the spine of his work, the quiet shirake-utsuri tanto its grace note. The lineage runs cleanly through him. He took the Mino body from his father Kanefusa and carried it, with the move to Kiyosu, to the threshold of Owari, where his son Hida no Kami Ujifusa would refine the broad notare into a settled Owari shinto manner and be numbered with Masatsune and Nobutaka as one of the three founders of that school. The published sources note that several generations continued under the name, and the father is the root of that descent.
Ujifusa is preserved entirely at the Juyo level, with no National Treasures or Important Cultural Properties on record, so his work belongs to the more attainable end of the connoisseur's field rather than to the museum population. The published designation record holds eight signed katana and a signed tanto among his designated works, all of them signed pieces rather than attributions, several carrying Genki and Tensho dates and one the Bishu Kiyosu ju residence inscription that the sources prize as material for the study of his late Owari years. No daimyo provenance or institutional holder is recorded for these blades, and the published sources are candid that his surviving work, his katana in particular, is comparatively few and that pieces of real quality are rarer still. A signed, dated Wakasa no Kami Ujifusa katana of the broad Genki-Tensho type is therefore an uncommon thing to encounter, and a collector meets one only from time to time and with patience, the strongest of them at the top of what the late-Mino field offers. The published sources sum the best of them plainly, calling one his representative work of imposing construction and grand temper, another a typical and representative Seki blade of the late Muromachi[[c:6]], and the fine suguha tanto one of his superior pieces.
Other smiths
Nagasada (永貞) — Mainline · 1862-1866. Nagasada signed himself Okatsuyama-roku Fujiwara Nagasada and gave his personal name as Matsui Jiichiro. He was born in Bunka 6, the year 1809, in Fuwa District of Mino Province, the son of Matsui Naosaburo, and the published record traces a working life that moved across three provinces: for a time he served the Tokugawa house of Kishu as an official smith, around Man'en 1 he forged at Tamaru in Ise, and from about Bunkyu 2 he settled at Aoyama in Edo, where he made swords until his death in Meiji 2 at the age of sixty. The place-name Okatsuyama that recurs in his signatures refers to a locality north of Omotesa in his native district, the place from which he took his swordsmith's name. His dated blades fall within the closing years of the Edo period, a katana of Keio 1 finely forged at Edo among them, and they place him squarely in the shinshinto revival rather than in the Sue-Seki of the old Mino tradition from which his school name descends.
His characteristic hand is a bold, broad-bladed katana built to the heroic proportions the late-Edo smiths favoured: a wide mihaba carrying little taper from base to tip, a thick kasane, a shallow sori, and an extended chu-kissaki, the whole given a stout and magnificent bearing. Set over this construction is a flamboyant gunome-midare into which large gunome, round-headed gunome, small gunome and occasionally pointed elements are mixed. The published sources describe the pattern as華やかに乱れ, a brilliantly animated midare, with ashi and yo entering vigorously, the nioi deep and the nie adhering well and evenly, some of it coarser; over and through the temper run frequent sunagashi, kinsuji and long nie-suji, and the nioiguchi is bright. One feature is so constant across his recorded work that the judges single it out: the mitsu-mune back, a three-surface ridge that one of the published commentaries names as この工の見どころ, the point of interest particular to this smith[[c:1]].
The jigane beneath that temper is a close itame, drawn tight and at times mixed with ko-itame and mokume, over which the ji-nie lies thick and fine chikei enter; on the longest of the recorded blades the grain stands a little open toward the koshimoto, but the prevailing impression is of a dense, well-forged jigane. There is no utsuri here, as there would be in a Bizen or Yamashiro ji; the brightness of his work comes instead from the depth of the nioi and the evenness of the nie. The boshi answers the temper below it, running straight or with a shallow notare and turning back in ko-maru, the very tip swept into hakikake, and on occasion tempered deeply through the yokote with a returning kaeri; one blade shows tobiyaki and muneyaki where the hardening spills onto the back near the monouchi. The nakago is ubu on every example, finished with a ha-agari kurijiri and o-sujikai file marks dressed with kesho, and carries the long signature that gives his full style and, on the reverse, the date and the place of forging.
The corpus that survives in the designated record is uniform in manner, all of it signed katana of his Edo maturity, so that his work is read less through phases than through one perfected idiom seen at full strength. Within it the judges draw a register of intensity: the most brilliant pieces, those they call出色 and華やかな, press the large and round-headed gunome and the deep nie to their flamboyant extreme, while quieter examples hold the same elements in a tighter midare. The horimono on two of the blades, the characters Hachiman Daibosatsu cut on one omote and gomabashi on a ura, belong to the same votive and martial taste that runs through bakumatsu work. The governing question the published sources return to is not of date or generation but of resemblance, for his manner sits so close to one famous neighbour that the eye must be told how to part them.
That neighbour is the Kiyomaro school. Repeatedly the commentaries state that his bold sugata, his nie-deep gunome-midare and his profuse kinsuji and sunagashi could be mistaken at a glance for Kiyomaro's line, 清麿一門に見紛う in the recurring phrase[[c:2]]. The distinction the judges then draw is exact, and it is the heart of his kantei. Within the ha one does not find the choji-tinged elements or the angular gunome that the Kiyomaro group habitually shows, 丁子がかった刃や角ばる互の目などは見られず[[c:3]]; in their place the large gunome and the round-headed gunome stand out, occasional pointed teeth enter, and the boshi turns back with a rounded tip rather than running pointed. By those features, together with the frequent mitsu-mune, the published sources separate his hand from the lineage it most resembles. He stands, then, as an independent bakumatsu master who carried the Kiyomaro manner without belonging to it, a Mino-born smith working the revival idiom for the Kishu Tokugawa and then in Edo.
Nagasada is an uncommon name on the designated record. Five of his katana are held at Juyo Token, all of them signed, and none has been raised to a higher designation; provenance is recorded for one, which passed through the hands of Sato Yoshitoi. These are the blades a private collector might realistically hope to encounter, and they reach the market only from time to time and with patience, a designated katana of his appearing as a notable event rather than a regular offering. The judges' own summations give the measure of why they are sought: of the Keio 1 katana made for Nishibori Mitsunori, the published record says the workmanship in both ji and ha is exceptionally fine and the piece may be termed 代表作と称すべき, a representative work of the smith[[c:4]]; of another it notes that the deep nioi, the evenly adhering nie and the bright nioiguchi are especially worthy of remark; and of the most robust it observes that the large-scale bearing and the flamboyant temper together convey a powerful presence. A signed katana by Nagasada offers, in a single late hand, the heroic shinshinto sugata and the nie-laden Kiyomaro-school manner held just short of Kiyomaro himself.
Ujifusa (氏房) — Mainline · 1596-1615. Hida no Kami Fujiwara Ujifusa was the son of Wakasa no Kami Ujifusa, born at Seki in Mino and first called Kawamura Isechiyo, later Heijuro. Most of the published sources give his birth as Eiroku 10, though one entry places it in Tenbun 10. They follow his career closely. He served Oda Nobutaka as a page and became a ronin after his lord's death, then served under Sakuma Masakatsu in Owari, moved to Kiyosu and began forging from about Tensho 17. In Tensho 19, when the Kampaku Toyotomi Hidetsugu became lord of Kiyosu, Ujifusa, Masatsune and Nobutaka were received at Jurakudai and each presented a sword, and Ujifusa was granted the title Hida no Kami. About Keicho 15 or 16 he moved to Nagoya and served Tokugawa Yoshinao as a retained smith, then passed the headship to Bizen no Kami Ujifusa in Kan'ei 8 and died that year at sixty-five. Three generations bore the name, the first Hida no Kami, the second Bizen no Kami and the third again Hida no Kami, and this code is the first.
His characteristic hand is a broad, generous notare. On a wide-bodied katana with shallow sori and a large kissaki, the shape the published sources call "the typical sugata of Keicho shinto"[[c:1]], he tempers an o-notare as the main tone, mixing gunome and small notare, with ashi and yo entering and ko-nie well attached, and patches of mura-nie and yubashiri along the line. The same broad manner runs across his naginata and his sun-nobi hira-zukuri wakizashi. Of one such wakizashi the sources write that it "fully and without reserve displays this smith's forte"[[c:2]]. On a dated Keicho 11 katana the same open notare mixed with gunome is named a typical work.
The jigane of that broad work is most often a standing one: an itame that tends to rise, at times a large itame or a coarse zanguri jigane, mixed with mokume and flowing toward masame along the shinogi-ji, with ji-nie. His finest katana, however, are forged differently. Two of them show a well-packed ko-itame with ji-nie, and over it a ko-midare or small notare mixed with gunome and pointed teeth. The published sources call one the white eyebrow of his work, the piece that "most clearly shows the Shizu style"[[c:3]] of his native Mino, and the other an excellent work that shows the same Shizu manner. The boshi over his blades is tempered deep, turning in notare-komi to a ko-maru or o-maru with a long return and hakikake. On his tanto and several other blades it rises instead in tsukiage to a pointed tip, the boshi of the Sanpin manner.
Within the one hand the published sources draw out two further faces. The first is his most numerous, the wide, shallow-curved, large-pointed body that recalls a greatly shortened Nanbokucho blade, though the judges point to the sakizori that fixes it as Keicho work. Among such pieces, they note, some look at first sight like the work of Muramasa. The second is rare, and the sources twice call it unusual for him: a chu-suguha worked with small gunome, abundant ko-ashi, hotsure and fine activity over a well-forged jigane, the boshi deep and pointed. On these blades the judges read a private aspiration to the great Soshu masters, naming Go and Samonji, and find "an archaic flavour as though he had privately studied the superior Sagami smiths"[[c:4]]. A Keicho 7 tanto with the Sanpin boshi recalls Echizen Yasutsugu at first sight, yet its larger notare and stronger, uneven nie are read as Ujifusa's own.
What sets him apart is the combination the judges keep returning to. He is a Seki smith by descent, and the standing, flowing jigane with masame along the shinogi-ji, the pointed Sanpin boshi and the Shizu manner of his best katana all carry that Mino root. The wide, powerful Keicho-shinto body, the deep nie and the reach toward Soshu in his suguha work mark the Owari smith who served the Tokugawa. Carving is uncommon on his blades beyond the bo-hi of the katana and the naginata-hi of the naginata, and the sources call it unusual when one sun-nobi hira-zukuri blade carries an inscription with Daruma carved in relief.
For the collector he is a well-documented founder rather than a rarity of legend. Fujishiro grades him Jo saku. He has no National Treasures and no Important Cultural Properties. His record runs through the Juyo tier, where sixteen of his works are held, all signed, among them katana, wakizashi, a tanto and naginata of the first generation. Several bear Keicho-era dates that the published sources prize as "good material for the study of Hida no Kami Ujifusa"[[c:5]], and they note that signatures with Fujiwara Ason are uncommon. Provenance for his work is little recorded, so it is best described simply as held in private hands. A signed first-generation Ujifusa, broad and vigorous with its long signature, comes to market only from time to time, and a dated example is the one a student of Owari shinto would most wish to encounter.
Kanetsune (兼常) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanenobu (兼延) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1837-1903. Smith of the Mino Seki School.
Daido (大道) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kaneari (兼在) — Mainline · 1489-1503. Smith of the Mino Seki School.
Kanemichi (兼道) — Mainline · 1532-1570. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1489-1499. Smith of the Mino Seki School.
Kanenobu (兼宣) — Mainline · 1441-1444. Smith of the Mino Seki School.
Kanenori (兼法) — Mainline · 1579-1615. Kanenori of Echizen signed his katana with the six characters Echizen no Kuni ju Kanenori, cut with a fine chisel beside the mekugi-ana toward the mune. One of his blades, designated Juyo at the 53rd session, carries on the ura the date "a day in the third month of Keicho 5" (1600), and the published sources cite a further work dated the eighth month of Keicho 12 (1607). From these dates, they write, his period of activity is largely clear. The earliest papers on his work set him within a group: from around the end of Tensho into the beginning of Keicho, several Echizen smiths appear to have signed Echizen no Kuni ju Kanenori or Echizen no Kuni Kanenori[[c:1]], each with slight differences in the characters of the signature, and each blade is read as the work of one of them.
The published sources treat his origin as a matter of course: these smiths came from Seki in Mino and took the same name. The later papers argue it from the blades themselves. Few of his works survive, but taken together their construction, the workmanship of the ji and ha, and the *taka-no-ha* file marks show the strong colour of late Muromachi Mino work. With the name Kanenori, this leads to the conjecture that he was one of the smiths who moved from Seki in Mino to Echizen[[c:2]]. The papers give him no generation number and name no individual Mino master as his teacher.
The Keicho 5 katana is the benchmark. It is notably wide, with little difference in width between base and tip, a thick *kasane*, rather deep *sori* with *sakizori*, and an *o-kissaki*. The *jigane* is *itame* mixed with *mokume* and slightly flowing grain, tending to stand, with thick *ji-nie*, *chikei* and a *mizukage*-like effect. The hamon is broadly tempered in round-headed *gunome*, *choji*, *gunome-choji* and pointed elements, with *ashi* and some *yo*. It is accompanied by *ko-nie*, with *kinsuji*, *sunagashi*, small *tobiyaki* and frequent *muneyaki*, and the *nioiguchi* tends to be subdued. The *boshi* is deeply tempered in *midare-komi*, turning back in *ko-maru* on the omote and nearly *ichimai* on the ura. Bo-hi with rounded ends run on both faces over incised Sanskrit characters, with *gomabashi* on the omote and a *suken* on the ura. The paper calls it a superior work by the rarely encountered Echizen Kanenori and finds its Keicho date exceptionally valuable as material for studying the smith.
A katana designated at the 44th session is dated by comparison with that blade. It has a wide but compact build, a thin *kasane*, the *shinogi-ji* pared down so that the *shinogi-suji* stands high, deep *sori* and an extended *chu-kissaki*. Its *itame* flows strongly on the ura into a *masame*-like texture. Round-headed *gunome* run in a connected, compound (*fukushiki*) arrangement with *ko-notare* and pointed elements, small *kinsuji* and a subdued *nioiguchi*, and the *boshi* takes a *jizo*-like shape with *hakikake* at the tip. Because the Keicho 5 katana resembles it in the upper blade, the finish of the tang and even the manner of the signature, the published sources appraise it as a work of the Keicho era, and they say it presents precisely the working range of late Muromachi Mino work[[c:3]]. A katana of the 60th session, 66.65 cm long with a *kissaki* of 7.1 cm, has a *notare*-based hamon of round-headed *gunome-choji* that turns to clustered *nie* in places, and the paper calls it an excellent piece among his few works.
The two earliest papers, from the 18th and 23rd sessions, read the Mino descent in the build and in the company the blades keep. One katana, with an *o-kissaki* and a *notare* arranged in a compound pattern, is judged close to the work of Iga no Kami Kinmichi and of Daido. Its tang, unusually, is filed in reverse *sujikai* on the omote and *sujikai* on the ura. The other has a thin *kasane* and a somewhat low *shinogi* that give it a strong Mino colour, and its file marks are *taka-no-ha*. The published sources liken its manner to that of Kinmichi, who likewise came out of Mino and moved to Kyoto, and to the Mishina group, and appraise it as a work of about the beginning of Keicho.
Five katana signed Echizen no Kuni ju Kanenori have been designated Juyo, at sessions from the 18th in 1969 to the 60th in 2014. No provenance is recorded for any of them. The published sources stress that his surviving works are few, and they value the dated Keicho 5 blade above all for what it fixes. It anchors his period and serves as the standard against which the undated blades are matched in build, tang finish and signature. Across all five, the papers note that even after the move to Echizen he strongly retained the manner of his native province.
Kanesaki (兼先) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanetaka (金高) — Mainline · 1592-1596. Smith of the Mino Seki School.
Kanetsuna (兼綱) — Mainline · 1487-1489. Smith of the Mino Seki School.
Masatoshi (正利) — Mainline · 1504-1521. Smith of the Mino Seki School.
Takatane (高植) — Mainline · 1558-1570. Smith of the Mino Seki School.
Yoshitsugu (吉次) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1926-1989. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1854-1860. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1818-1869. Smith of the Mino Seki School.
Kanetsune (兼常) — Mainline · 1521-1528. Smith of the Mino Seki School.
Masatoshi (正俊) — Mainline · 1487-1489. Smith of the Mino Seki School.
Eiji (栄次) — Mainline. Smith of the Mino Seki School.
Hanjo (繁昌) — Mainline · 1615-1624. Hanjo is one of the most thinly recorded of all the smiths who reached the Juyo rank: across four designated blades the published sources can say only that he was the son or a disciple of Hankei, and that beyond this affiliation virtually nothing is known of him. No katana by him has ever been seen. The whole surviving body is a single wakizashi and a few tanto, and the four that carry an official record were designated across nearly forty years, from the 32nd Juyo session of 1985 to the 70th of 2024, every one signed with a plain two-character chisel-cut mei read Hanjo or Shigemasa. The published record places him securely within the line of Hankei, the celebrated early-Edo master who revived in Owari and Edo the Soshu manner of Etchu Norishige, and it rests that placement not on a document but on the blades themselves: his working style, the construction of his tang, and the character of his signature are so close to Hankei's that the NBTHK calls his membership in the line certain. Like Hankei, the published sources say, Hanjo took Norishige as his model.
His is one settled hand, modeled on Norishige and carried at full strength rather than divided into manners. The shape is the readiest tell: a wide hira-zukuri tanto or wakizashi, the proportions slightly extended, the kasane thick and the curvature shallow or nearly absent, the back formed in mitsu-mune and dropping steeply. The NBTHK names this stocky bearing as a recognizable trait shared by the Hankei and Hanjo tanto, describing it as a form that is wide for its length yet somewhat shortened in overall dimension, in their words wide for the breadth but with the measure somewhat drawn in[[c:1]]. Over that robust frame he forges a large itame and o-itame mixed with mokume and a flowing grain, a jigane that stands up strongly, takes thick ji-nie, and is run through with stout, black, frequent chikei. On the 41st-session tanto and on the 2024 wakizashi the published sources name this surface outright as the so-called hijiki-hada, the dark, strand-like chikei pattern that is the central recognition point of the Hankei line and the most direct inheritance from Norishige.
The jigane is where Hanjo is read first, and the temper answers it in the same Soshu key. He sets a shallow notare, sometimes a ko-notare, mixed with gunome and at times ko-gunome, ashi entering well, the nioiguchi deep, the nie thick with a coarser nie intermixed that leaves the line a little uneven. Across the whole of it run sunagashi and bold kinsuji, with nie-suji and frequent yubashiri, small tobiyaki and muneyaki appearing in places along the back, the nioiguchi tending throughout toward a subdued cast. The boshi answers in a small round or a large round with a deep return, vigorous hakikake brushing the point into a flame-like shape, the kinsuji often most conspicuous from the monouchi up through the tip. None of this is decorative in the Bizen sense. It is the streaming, nie-laden activity of the Soshu tradition as Norishige left it, reproduced by a second-generation hand with the same intent and, the NBTHK insists, with no inferiority to the master's own tanto.
That one settled manner does admit a single recorded departure. On the 39th-session tanto of 1993 the published sources read, in the ko-notare-and-gunome temper and in a boshi that rises in tsukiage with a pointed tendency on the omote and a kaeri that runs down into the muneyaki as yakisage, an aim not at Norishige but at Samonji, conceived as they put it within the same Soshu tradition with an eye toward a master ranked above Norishige. They call it an ambitious piece in which the smith took the style of that higher Soshu hand into account. They are careful to add, though, that apart from the cutting line the general aspect of the ji and ha still shows the Norishige tendency that is this smith's customary working range, so that the Samonji aim is a deliberate variation laid over a fixed hand and not a second manner. The mitsu-mune build and the steep drop of the back, the sources note, betray the same Norishige model even here.
What distinguishes Hanjo within his own school is less a divergence than a faithful continuation. He has no recorded successor and no separate lineage of his own; his standing is that of the clearest surviving witness to the second generation of the Hankei manner. The published sources draw the comparison the smith himself invited, holding his ji and ha filled with vigor and pronouncing the work comparable to the master's, in their phrase a finish that fully equals Hankei's own tanto[[c:2]]. Set against the great Soshu originals he derives from, his blades carry the standing grain and dark chikei of Norishige without the matsukawa-hada at its most extreme, and the gunome-broken notare of the line rather than the flamboyant midare of Bizen or the long Yamashiro suguha; his bright streaming sunagashi and the subdued, nie-deep nioiguchi set his work apart and place it squarely in the Hankei descent.
Hanjo is, in the end, a connoisseur's documentary smith rather than a market name. Four blades stand on the official record, all at the Juyo tier and none above it, and the published sources value them less for splendor than for evidence, calling each precious as material for understanding the work-range of so scarcely recorded a hand. No provenance of named owners attaches to them in the record, and with no katana known and only a handful of tanto and a lone wakizashi surviving, a blade by Hanjo is among the rarer things a collector of Shinto Soshu-den work could hope to encounter; when one does appear it comes from time to time and with patience, never in quantity. For the student of the Hankei line it is the more valuable for that scarcity, a sound and vigorous example of how Norishige's Soshu manner was carried a generation past its Edo revival, and the published record returns again and again to that judgment, that the work shows a quality fully the equal of the master and is treasured as the documentary trace of a smith of whom almost nothing else remains.
Kaneaki (兼明) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanekore (兼之) — Mainline · 1504-1555. Kaneyuki of Seki, the smith the published commentary calls No-sada, is one of the two masters by whom the Mino tradition is remembered at the close of the Muromachi period, the other being Kanemoto. He is recorded as the son of the first-generation Hiki-sada, and the two names that divide the Kanesada line describe nothing more than the way each cut the character sada (定): No-sada carved the element beneath the roof-radical as the form 之, the Hiki-sada group as 疋. A long signature on one of his katana, dated Eisho 1 (1504), and another dated Daiei 6 (1526), fix the span of his recorded career, and the commentary places the use of his honorary title Izumi no Kami between Eisho 7 (1510) and that same Daiei 6. That title is itself worth pausing on, for the published sources note that a Mino smith of the old-sword period receiving a court rank is unusual, a measure of the standing the No-sada held within Seki.
The hand by which he is known is the Mino manner held at a high level of finish. Over an itame jigane that flows and in places runs to nagare he tempers a gunome into which pointed togariba, round-headed gunome, gunome-choji and small notare enter, ashi and yo running into the temper, the nioiguchi tending tight with ko-nie clinging to it. The boshi runs midare-komi and turns back in a small ko-maru, on some blades pointed at the tip, on others rounded short into a Jizo cast, the kaeri often brushed with hakikake. What sets this apart from the rest of Seki is named in the commentary as a matter of contrast. Kanemoto built his fame on the sanbonsugi, the regular three-cedar file of pointed teeth, and the published sources judge it candidly: 「やや一片倒で変化に乏しい憾があり、兼定はそれに比して作域が広い」[[c:1]], a temper somewhat one-sided and short on variety, against which Kaneyuki's range is the broader. His togariba is one element woven among rounder forms, not the whole pattern, and it is that variety, rather than any single flourish, that the eye is meant to settle on.
The jigane is where the published record places his quality. The itame flows and carries mokume, ji-nie gathers finely across the surface, and over it stands a faint shirake-utsuri, the cool whitish reflection of refined Mino steel of his date. On the tachi of the 32nd session the commentary states the point plainly, that he 「末関中最もよく練れた鍛え」[[c:2]], the most thoroughly worked forging among the Sue-Seki smiths, and the same blade is praised for showing the distinguishing points of Kaneyuki well in both ji and ha. On the dated katana of Eisho 1 the steel is called clear and bright, the shirake-utsuri standing distinct over a closely worked itame mixed with nagare. The temper on these pieces keeps to the tight, controlled nioiguchi with ko-nie that runs through almost the whole of his recorded work, so that the ji and the edge read as parts of one disciplined manner rather than as separate effects.
Within that one manner the published sources read a more flamboyant register, and they use the word for it. On a portion of his blades the gunome opens out, the temper widens, and large gunome, angular teeth and yahazu-like forms enter alongside gunome-choji; coarse nie appears here and there, fine sunagashi streams in the temper, yubashiri and tobiyaki drift into the ji, and muneyaki runs along the back, the boshi at times rounding to its Jizo cast and joining the muneyaki. The katana of the 49th session, appraised as a late work of the latter Daiei years, is read as belonging to this part of his range, its tempered area called full of power and its broad magnificent sugata overflowing with vigor; the commentary on the tachi of 1985 frames the same breadth as exactly what divides him from Kanemoto, for there he 「頭の丸い互の目やのたれ・互の目丁子などの目立つ刃文を焼いて華やか」[[c:3]], tempering conspicuous round-headed gunome, notare and gunome-choji in a flamboyant manner. This is a register of one hand, not a separate period, the broad end of the same workmanship.
Kaneyuki is, by the standard of old-sword Mino, well dated, and the published sources record that the tang itself moves with his career: through the early and middle-to-late phases the file marks are taka-no-ha and the tip a kurijiri, and in his later years they shift to sujikai file marks and an iriyama-gata tip, a progression the appraisers use together with the manner of the signature to place a blade. The eight-character Izumi no Kami Fujiwara Kaneyuki signature, cut large and in a distinctive hand, is named more than once as a recognition point in its own right. Several of his blades survive ubu with their dates intact, while two of the katana have been slightly shortened, one cut from the middle of the character saku in the signature, which the commentary calls regrettable while judging the blade nonetheless among his finest. He stands within Seki not as an innovator of a single pattern in Kanemoto's way but as the broader and more finished hand, and the Mino manner he carried became one of the most widely imitated styles of the late old-sword and early new-sword periods.
His surviving record, as it reaches the present through the designation system, is modest in number and high in consistency: seven of his works hold the rank of Important Sword, all of them signed, and none carries a higher designation. They are not, in the main, blades that move, and the standing of a No-sada katana is such that a privately held example reaches the market only from time to time and rarely more than one at once. Provenance on these pieces is thin in the record, but it is not absent: one of the katana designated at the 50th session is set down as formerly in the collection of Kuroda Kiyotaka and is published in the Tsuchiya Oshigata, the commentary noting 「黒田清隆旧蔵の一口で、『土屋押形』に所載されている」[[c:4]]. The published sources frame the whole of the No-sada legacy in a single judgment that has held for centuries, that among the several generations and several smiths who bore the Kanesada name, the No-sada of the Eisho and Daiei years 「永正・大永頃のノサダが最も技術も優れ」[[c:5]], the most accomplished in skill and long the most admired. For a collector, a sound and dated Kaneyuki is among the most rewarding ways to hold the Mino tradition at its height, a Seki blade in which the breadth the commentary prizes, the refined flowing jigane and the bright varied temper, are present together.
Kanemoto (兼本) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanemoto (兼基) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1504-1521. Smith of the Mino Seki School.
Kanenaga (兼長) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanenori (兼則) — Mainline · 1528-1532. Smith of the Mino Seki School.
Kanenori (兼則) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kaneshiba (兼芝) — Mainline. Smith of the Mino Seki School.
Kanetoki (兼辰) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanetoki (兼辰) — Mainline · 1573-1592. Smith of the Mino Seki School.
Kaneyoshi (兼吉) — Mainline · 1394-1428. Among the dated works of Kaneyoshi, a swordsmith of the Seki Zensada group (関善定派) of Mino, the earliest is a wakizashi inscribed for the second month of Kōō 1 (1389), at the very close of the Nanbokuchō period, and the finest are the tachi and tantō he made a generation later in the Ōei era. The reference works on signatures place the origin of the line in Yamato, recording the first-generation founder as the same man as, or the son of, Tegai Kaneyoshi (手掻包吉) of the Tegai school, who carried the Yamato manner east into Seki. From that root the name continued through several generations of the Muromachi period and survived into the shinshintō era, but it is the Ōei work that the published sources single out, observing that among all the generations it is the Ōei pieces that leave the finest examples, 'among them it is the Ōei-period works that leave the finest pieces'[[c:1]]. The four blades on this record, three tachi and a tantō dated Ōei 9 (1402), Ōei 10 (1403) and Ōei 27 (1420), are that prime work, each an ubu, signed blade reading Nōshū-jū Kaneyoshi[[c:2]] or Nōshū jūnin Kaneyoshi[[c:3]], with the cyclical date cut on the reverse of the tang.
The hand is a tight suguha rather than a flamboyant midare, the disciplined face of late Seki. Over the body he tempers a straight line, at its most restrained an ito-suguha (糸直刃) as fine as thread, into which a little ko-gunome (小互の目) is mixed on the two later tachi, the small Mino teeth breaking what is otherwise a quiet temper. The nioiguchi is tight in character and nioi-dominant, ko-nie attaching along it, ko-ashi entering and intermittent hotsure appearing at the habuchi, with yubashiri drifting over the lower omote of one tachi and fine kinsuji running within the ha. The published sources name this controlled straight temper the manner the smith favored and most excelled at, calling one Ōei tachi a blade that 'shows the style at which he excelled'[[c:4]] and reading the tantō's whitish forging and tight suguha as work in which 'Kaneyoshi's favored style is well revealed'[[c:5]]. It is restraint, not display, that marks him.
The jigane carries the Yamato inheritance plainly. He forges a ko-itame or itame that flows overall toward masame, so that a masame-inclination (柾がかり) stands toward the edge, ji-nie attaching across the surface and a faint chikei entering here and there. Over that jigane rises a whitish shirake-utsuri (白け映り), the misty reflection of Yamato and Mino steel that appears on every blade of this record, set apart from the bright midare-utsuri of contemporary Bizen. The bōshi runs almost straight and turns back in a small ko-maru, on one tachi tending slightly to notare and pointing a little on the ura. The sugata is the slender, forward-curving shape of its age: a somewhat narrow mihaba, a sori that runs deep and tends to sakizori, a ko-kissaki or chū-kissaki, the elongated tachi figure the published sources read as characteristic of the Muromachi period and especially of the Ōei years; the tantō is hira-zukuri with a thick kasane and a slight uchizori, a touch elongated for its width, the proportions that also fix it firmly in Ōei.
The record divides into two manners, only one of them held here. The documented founder phase is the Kōō 1 wakizashi, which the published sources describe as having a rather thick kasane, a somewhat high shinogi, an itame forging tempered in suguha and a bōshi with hakikake, a piece of, in their words, 'a distinctly strong Yamato temperament'[[c:6]]. The Ōei prime that follows is the hand of these four blades, the same Yamato substrate now settled into the cooler Mino suguha. The dated tangs make the corpus valuable beyond its workmanship, the Ōei 9 tachi standing among examined works second only to the Kōō 1 founder piece, and the Ōei 10 tantō being, the published sources note, the only Ōei-dated tantō the committee has examined, since 'apart from this piece no tantō has been seen'[[c:7]]. Across the generations the name was carried by many hands, and it is the Ōei pieces that anchor the whole.
Within Seki, Kaneyoshi is read first by his own typical traits rather than by comparison: the masame-leaning itame under a shirake jigane and the tight suguha lightly broken with ko-gunome are the features the published sources call the heart of his work. On the Ōei 27th-session tachi the workmanship in both ji and ha is judged sound, and on a later tachi the committee writes that 'everything here is typical'[[c:8]] and that the blade 'fully displays the highlights of Kaneyoshi's work, leaving nothing out'[[c:9]]. His Yamato-grounded restraint sets him apart from the showier late-Seki smiths, whose pointed togariba gunome runs hot where his straight line stays cool, and it is that quiet, masame-grounded suguha by which a Seki Zensada Kaneyoshi of the Ōei era is recognized. The school's debt to Tegai is legible in his every blade, the Yamato hada and the whitish utsuri carried down from the founder.
Kaneyoshi's work is rated chū-jō saku by Fujishiro, and the four blades on record stand in the Jūyō tier, all ubu and signed and dated to the Ōei years he is remembered for. These are not blades that often change hands. Of the four, provenance survives for one, the Ōei 27th-session tachi, which the published sources record as 'a blade transmitted in the Chikuzen Kuroda family through the domain era'[[c:10]], passing through one of the great daimyō houses of Kyushu. A signed and dated Ōei tachi or tantō by this smith is encountered only from time to time and a dated tantō scarcely at all, so a private collector may hope to meet his work rarely and with patience, most often through the Jūyō tier in which these examples sit. The appeal is exactly what the published sources praise: an honest, well-forged Ōei blade in which the Yamato descent of the Seki Zensada line shows clearly, its straight temper and whitish ji typical of the manner the committee returns to as the smith's finest.
Kaneyuki (金行) — Mainline · 1350-1352. Kaneyuki of Mino is known entirely through unsigned blades, ten of which have passed Jūyō between 1963 and 2018, the earliest a greatly shortened katana once a tachi of more than three shaku, the most recent a wide, imposing katana of the Nanbokuchō shape. Not one of his works carries a date, and securely signed examples are so rare that the published sources treat them as all but absent; the smith is reached only through attribution. He was a disciple of the first-generation Kaneshige, named in the references as either Kaneshige's younger brother or his son, and the references place the two of them, with Shizu Kaneuji, at the head of Mino swordmaking, calling Kaneshige one who "together with Shizu Kaneuji became a fountainhead of Mino smithing."[[c:1]] The same sources, citing the Kokon Meizukushi, describe Kaneshige as a man of "the Buddhist name Dōa, a native and resident of Tsuruga in Echizen, an outstanding master who crossed into Seki and settled there,"[[c:2]] and from the Kōzan Oshigata they recover two of his tantō dated Jōji 2 (1363), the only fixed point for the group's active period. Kaneyuki belongs, then, to the founding generation of Seki, before the Mino mainstream of the later Muromachi smiths took shape.
The hand that the references reconstruct for him is a Mino-den manner deliberately held apart from the Shizu line. Over an itame that flows and stands, and on several blades inclines openly to masame, he tempers round-headed gunome and ko-gunome, mixed with togariba and a low ko-notare and linked in a comparatively calm sequence. The published sources name this directly: blades long appraised as Kaneshige or Kaneyuki "emphasize round-headed gunome and ko-gunome as the main theme"[[c:3]] and as a rule "show a comparatively gentle manner of tempering."[[c:4]] A naginata-naoshi papered at the thirty-third session restates the point: set beside the Shizu group, the work of Kaneshige and Kaneyuki more often shows a standing grain, and most of it is tempered in linked, somewhat rounded gunome[[c:5]]. Across the temper run ko-nie, sunagashi and fine kinsuji, the nioiguchi clear, with ashi entering and the habuchi fraying in places into hotsure. The bōshi answers the ji and ha, sweeping in hakikake to a small ko-maru, here and there entering midare-komi. It is a quiet, controlled hamon by Nanbokuchō standards, and the references make that calm a positive trait of the group rather than a limitation.
The jigane carries the rest of the recognition. The flowing, standing itame that inclines to masame is what the published sources hold up as the appreciation point shared across the Kaneshige group, and it is on this that an unsigned blade is sorted to Kaneyuki rather than to Shizu. Ji-nie adheres throughout, and where a reflection appears it is the dim shirake of the Mino-den; the two early katana show a faint whitish utsuri, while on the broad late katana the ji brightens to thick, fine ji-nie with frequent chikei and a faint plain utsuri, one showing a nie-utsuri-like effect. Running through all of it is what the references call a "northern-provinces temperament" read in the forging, a slightly rustic flavor they attribute to Kaneshige's Echizen origin carried into Mino steel, and a jigane they judge frankly as of a rougher make than Kaneshige's, with a ji that does not reach his.[[c:6]] The honesty of that judgment is part of the attribution: Kaneyuki is the calmer, plainer hand of the founding Seki generation.
The designated work divides less by date than by form. The bulk of it is greatly shortened, unsigned katana and naginata-naoshi, originally tachi and naginata of wide mihaba, shallow sori and large kissaki, the Nanbokuchō silhouette in full; on these the calm round-headed gunome and the masame-leaning ji read most plainly, and the late wide katana of the 48th and 64th sessions are the brightest and most tightly forged, the references calling them sound in ji and ha and superior examples of his appraised work.[[c:7]] Apart from these stands the one piece that keeps its original tang, an ubu hira-zukuri wakizashi, slightly elongated and thin in kasane, on which the temper is a regular ko-notare with sunagashi run frequently, and which alone carries horimono in the religious idiom the Mino smiths favored, a sankō-hilted ken on one face and a bonji with gomabashi on the other. The published sources read this regular ko-notare, beside the linked round-headed gunome, as one of the two typical hamon of blades attributed to Kaneyuki without signature.
What keeps Kaneyuki distinct is set entirely against the Shizu line he is most easily confused with. Both are Mino-den of the same Nanbokuchō moment, and the references frame the appraisal as a contrast held steadily across his record: while connected to Kaneshige's manner, his blades "differ in character from the works of the Shizu group,"[[c:8]][[c:9]] the calmer round-headed gunome and the standing, masame-leaning ji standing against the more restless Shizu midare. The references call one of his naginata-naoshi a clear instance of "Kaneyuki's typical workmanship,"[[c:10]] and another a katana on which "the appreciation points of the Kaneshige school are conspicuously shown,"[[c:11]] so that the school's character is read off his own blades rather than borrowed. His hand thereby became one of the recognized templates against which unsigned Nanbokuchō Mino blades are sorted, a sub-current of the broad Seki and Naoe-Shizu stream that fed the later Mino mainstream of the Kanesada and Kanemoto smiths.
Kaneyuki's record is modest in scale and entirely unsigned: ten designated works on record, all in the Jūyō Tōken rank across a span of more than half a century, with no National Treasure, no Important Cultural Property and no Tokubetsu Jūyō among them, and a designation factor that places him in the long tail of the index rather than near its head. The published sources nonetheless judge the best of these blades sound in both ji and ha and call them superior examples of the appraisals of this smith, the praise measured rather than effusive, which suits a smith reached only by elimination. No provenance is recorded for his blades, and no institution holds one on the public record, so the honest picture is of a quiet name held in private collections and seen at designation, the swords passing between collectors rather than resting in museums. A Kaneyuki does come to market, since none of his work is held as patrimony, but rarely, and when it does it is the calm, masame-leaning Mino-den hand and the round-headed gunome, not a signature, that identify it. For a collector who values the founding generation of Seki over the famous Muromachi names that followed, an unsigned Kaneyuki of sound ji and ha, sorted from the Shizu line by exactly the traits the references name, is a quietly rewarding thing to encounter.
Kaneyuki (兼行) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kaneyuki (包行) — Mainline · 1379-1381. Smith of the Mino Seki School.
Kinju (金重) — Mainline. Smith of the Mino Seki School.
Kinju (金重) — Mainline. Smith of the Mino Seki School.
Kiyonobu (清宣) — Mainline · 1624-1644. Smith of the Mino Seki School.
Muneyoshi (宗吉) — Mainline · 1489-1492. Smith of the Mino Seki School.
Suemitsu (末光) — Mainline · 1444-1449. Smith of the Mino Seki School.
Ujitsune (氏恒) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanetaka (兼高) — Mainline · 1573-1592. Smith of the Mino Seki School.
Hidetsugu (英次) — Mainline · 1688-1704. Smith of the Mino Seki School.
Hirofusa (廣房) — Mainline · 1573-1592. Smith of the Mino Seki School.
Iehisa (家久) — Mainline · 1688-1704. Smith of the Mino Seki School.
Kaneaki (兼離) — Mainline · 1528-1532. Smith of the Mino Seki School.
Kaneaki (兼秋) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kaneaki (兼離) — Mainline · 1457-1460. Smith of the Mino Seki School.
Kaneatsu (兼陸) — Mainline · 1592-1596. Smith of the Mino Seki School.
Kanechika (兼親) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanechika (兼力) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanechika (兼近) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanechika (兼恭) — Mainline · 1528-1532. Smith of the Mino Seki School.
Kanechika (兼及) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanechika (兼及) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanefune (兼舟) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanefune (兼船) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehana (兼花) — Mainline · 1487-1489. Smith of the Mino Seki School.
Kaneharu (兼流) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kaneharu (兼晴) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kaneharu (兼晴) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kaneharu (兼春) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kaneharu (兼治) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼秀) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼英) — Mainline · 1789-1801. Smith of the Mino Seki School.
Kanehide (兼榮) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanehira (兼平) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanehira (兼開) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanehiro (兼宏) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanehiro (兼廣) — Mainline · 1592-1596. Smith of the Mino Seki School.
Kanehiro (兼大) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanehiro (兼廣) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanehiro (兼弘) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanehiro (兼弘) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanehiro (兼大) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanehiro (兼聞) — Mainline · 1441-1444. Smith of the Mino Seki School.
Kanehiro (兼宏) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanehiro (兼廣) — Mainline · 1487-1489. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1489-1492. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼古) — Mainline · 1487-1489. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1688-1704. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehisa (兼古) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1457-1460. Smith of the Mino Seki School.
Kanehisa (兼久) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanehisa (兼古) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanehito (兼仁) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanehito (兼仙) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanehito (兼侍) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanehito (兼仙) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanehito (兼仙) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanehito (兼仙) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kaneie (兼戸) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kaneie (兼戸) — Mainline · 1449-1452. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kaneie (兼舍) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kaneie (兼宅) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kaneie (兼宅) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kaneie (兼宿) — Mainline · 1504-1521. Smith of the Mino Seki School.
Kaneishi (兼石) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kaneishi (兼石) — Mainline · 1688-1704. Smith of the Mino Seki School.
Kaneiwa (兼岩) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kaneiwa (兼岩) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kaneiwa (兼岩) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1658-1661. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1661-1673. Smith of the Mino Seki School.
Kanekage (兼景) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanekane (兼金) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanekata (兼像) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanekatsu (兼勝) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanekazu (兼和) — Mainline · 1457-1460. Smith of the Mino Seki School.
Kanekazu (兼雄) — Mainline · 1428-1429. Smith of the Mino Seki School.
Kanekazu (兼収) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanekazu (兼一) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanekazu (兼円) — Mainline · 1429-1441. Smith of the Mino Seki School.
Kanekazu (兼員) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanekazu (兼円) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanekazu (兼計) — Mainline · 1487-1489. Smith of the Mino Seki School.
Kanekimi (兼公) — Mainline · 1449-1452. Smith of the Mino Seki School.
Kanekimi (兼主) — Mainline · 1449-1452. Smith of the Mino Seki School.
Kanekimi (兼王) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanekishi (兼岸) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanekore (兼是) — Mainline · 987-1596. Smith of the Mino Seki School.
Kanekoto (兼言) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanekoto (兼功) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanekumo (兼雲) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanekumo (兼雲) — Mainline · 1390-1394. Smith of the Mino Seki School.
Kanekuni (兼國) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanekuni (兼國) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanekuni (兼邦) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanema (兼馬) — Mainline · 1489-1492. Smith of the Mino Seki School.
Kanema (兼馬) — Mainline · 1370-1372. Smith of the Mino Seki School.
Kanemachi (兼待) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanemaru (兼丸) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanemasa (兼方) — Mainline · 1688-1704. Smith of the Mino Seki School.
Kanemasa (兼昌) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanemasa (兼昌) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanemasa (兼方) — Mainline · 1504-1521. Smith of the Mino Seki School.
Kanemasa (兼方) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanemasu (兼升) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanemasu (兼舛) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanematsu (兼松) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanematsu (兼松) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanemichi (兼大) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanemichi (兼陸) — Mainline · 1592-1596. Smith of the Mino Seki School.
Kanemichi (兼道) — Mainline · 987-1596. Smith of the Mino Seki School.
Kanemichi (兼陸) — Mainline · 1661-1673. Smith of the Mino Seki School.
Kanemine (兼嶺) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanemitsu (兼光) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanemitsu (兼滿) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanemitsu (兼滿) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemori (兼林) — Mainline · 1345-1350. Smith of the Mino Seki School.
Kanemori (兼盛) — Mainline · 1441-1444. Smith of the Mino Seki School.
Kanemori (兼森) — Mainline · 1441-1444. Smith of the Mino Seki School.
Kanemori (兼関) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanemoto (兼下) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanemoto (兼体) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanemoto (兼体) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼□) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1441-1444. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1444-1449. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1466-1467. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1528-1532. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1555-1558. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1573-1592. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1592-1596. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1818-1830. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1830-1844. Smith of the Mino Seki School.
Kanemoto (兼元) — Mainline · 1868-1912. Smith of the Mino Seki School.
Kanemune (兼宗) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanemura (兼村) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanemura (兼村) — Mainline · 1521-1528. Smith of the Mino Seki School.
Kanemura (兼村) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanenaga (兼永) — Mainline · 1688-1704. Smith of the Mino Seki School.
Kanenaga (兼永) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenaka (兼莫) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenaka (兼中) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanenaka (兼莫) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenaka (兼莫) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenaka (兼莫) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenaka (兼中) — Mainline · 1661-1673. Smith of the Mino Seki School.
Kanenaka (兼莫) — Mainline · 1716-1736. Smith of the Mino Seki School.
Kanenami (兼並) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanenami (兼並) — Mainline · 1429-1441. Smith of the Mino Seki School.
Kanenao (兼猶) — Mainline · 1487-1489. Smith of the Mino Seki School.
Kanenao (兼直) — Mainline · 1452-1455. Smith of the Mino Seki School.
Kanenao (兼尚) — Mainline · 1469-1487. Smith of the Mino Seki School.
Kanenari (兼成) — Mainline · 1848-1854. Smith of the Mino Seki School.
Kanenari (兼成) — Mainline · 1655-1658. Smith of the Mino Seki School.
Kanenari (兼成) — Mainline · 1394-1428. Smith of the Mino Seki School.
Kanenari (兼也) — Mainline · 1501-1504. Smith of the Mino Seki School.
Kanenori (兼曲) — Mainline · 1492-1501. Smith of the Mino Seki School.
Kanenori (金曲) — Mainline · 1390-1394. Smith of the Mino Seki School.
Kanenori (兼廻) — Mainline · 1460-1466. Smith of the Mino Seki School.
Kanenori (兼伯) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanenori (兼伯) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanenori (兼式) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kaneoka (兼岡) — Mainline · 1429-1441. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1555-1558. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1558-1570. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1573-1592. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1596-1615. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1624-1644. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1655-1658. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1661-1673. Smith of the Mino Seki School.
Kanesada (兼定) — Mainline · 1848-1854. Smith of the Mino Seki School.
Kanetoyo (兼豊) — Mainline · 1532-1555. Smith of the Mino Seki School.
Kunisada (國定) — Mainline · 1661-1673. Smith of the Mino Seki School.
Morihiro (盛廣) — Mainline · 1452-1455. Smith of the Mino Seki School.
Nagahiro (長廣) — Mainline · 1501-1504. Smith of the Mino Seki School.
Nagakane (長兼) — Mainline · 987-1596. Smith of the Mino Seki School.
Nagamori (長盛) — Mainline · 1521-1528. Smith of the Mino Seki School.
Nagatoki (長節) — Mainline · 1487-1489. Smith of the Mino Seki School.
Nagatoshi (長俊) — Mainline · 1375-1381. Smith of the Mino Seki School.
Nagayori (長依) — Mainline · 1532-1555. Smith of the Mino Seki School.
Nagayoshi (長吉) — Mainline · 1455-1457. Smith of the Mino Seki School.
Nobuhide (信英) — Mainline · 1684-1688. Smith of the Mino Seki School.
Nobuie (信舎) — Mainline · 1596-1615. Smith of the Mino Seki School.
Nobumitsu (延光) — Mainline · 1532-1555. Smith of the Mino Seki School.
Nobumitsu (延光) — Mainline · 1460-1466. Smith of the Mino Seki School.
Nobushige (信重) — Mainline · 1532-1555. Smith of the Mino Seki School.
Nobuteru (信英) — Mainline · 1684-1688. Smith of the Mino Seki School.
Nobutsugu (延次) — Mainline · 1429-1441. Smith of the Mino Seki School.
Nobutsugu (延次) — Mainline · 1521-1528. Smith of the Mino Seki School.
Nobutsugu (延次) — Mainline · 1467-1469. Smith of the Mino Seki School.
Norinaga (徳永) — Mainline · 1492-1501. Smith of the Mino Seki School.
Norinaga (徳永) — Mainline · 1441-1444. Smith of the Mino Seki School.
Tametsugu (爲繼) — Mainline · 1394-1428. Smith of the Mino Seki School.
Tametsugu (爲次) — Mainline · 1457-1460. Smith of the Mino Seki School.
Tametsuna (爲綱) — Mainline · 1558-1570. Smith of the Mino Seki School.
Tametsuna (爲綱) — Mainline · 1624-1644. Smith of the Mino Seki School.
Terufune (輝舟) — Mainline · 1818-1830. Smith of the Mino Seki School.
Terufune (輝舟) — Mainline · 1716-1736. Smith of the Mino Seki School.
Tomofune (具舟) — Mainline · 1789-1801. Smith of the Mino Seki School.
Tomofune (具舟) — Mainline · 1818-1830. Smith of the Mino Seki School.
Tomouji (具氏) — Mainline · 1532-1555. Smith of the Mino Seki School.
Tsugukane (次兼) — Mainline · 1492-1501. Smith of the Mino Seki School.
Tsuguyoshi (次良) — Mainline · 1394-1428. Smith of the Mino Seki School.
Ujifusa (氏房) — Mainline · 1501-1504. Smith of the Mino Seki School.
Ujifusa (氏房) — Mainline · 1624-1644. Smith of the Mino Seki School.
Yoshinaga (吉長) — Mainline · 1532-1555. Smith of the Mino Seki School.