Working in the Kyoto Yamashiro tradition around the Kagen era of the late Kamakura period, Sueyuki (末行) belonged to the Ayanokoji group, the early Kyoto school whose style is represented by Sadatoshi. The NBTHK setsumei note that the name "Sueyuki" appears in the meikan across several unrelated lineages (Ayanokoji, Senjuin, Taima, Ko-Bizen, and Ko-Aoe), but the workmanship of these blades, in jigane, hamon, and signature manner, places this smith firmly within the Ayanokoji group. The references describe him as a follower of Ayanokoji Sadatoshi, and one setsumei connects the quality of the jiba and overall bearing to Sadayoshi of the same group, inheriting the classically archaic style of the line.

The forging is itame-hada, in places tending toward hada-dachi or mixed with mokume, o-itame, and a jifu-like grain; fine ji-nie adheres thickly, and a standing nie-utsuri (or jifu-utsuri) is a recurring feature typical of Kyo-mono. The hamon is founded on suguha-cho mixed with ko-midare, ko-gunome, ko-choji-like forms, and shallow notare, with ashi and yo entering and a bright nioiguchi. Nie covers the habuchi, which shows hotsure, small tobiyaki, and yubashiri that in places produce a nijuba-like impression, while kinsuji and sunagashi run as reliable hataraki. The boshi varies from straight with maru and slight hakikake to midare-komi tending toward yakizume. Sugata is an elegant tachi with high koshizori and remaining funbari.

For collectors, the decisive kantei points are the Kyo character of the work: the densely adhering fine ji-nie raising nie-utsuri, the reverse-slanting (saka-gakari, Kyo-saka-ashi) tendency of the irregularities toward the point, and the wazori-like curvature that separates this hand from Bizen and Bicchu production. Extant signed works are few, so the surviving two-character mei examples carry particular weight, and even the mumei ubu-tang tachi is valued as the piece that should most properly be appraised as Sueyuki. One signed tachi is traditionally said to have been formerly owned by the Mizoguchi family, lords of the Shibata domain.

Working in the Kyoto Yamashiro tradition around the Kagen era of the late Kamakura period, Sueyuki (末行) belonged to the Ayanokoji group, the early Kyoto school whose style is represented by Sadatoshi. The NBTHK setsumei note that the name "Sueyuki" appears in the meikan across several unrelated lineages (Ayanokoji, Senjuin, Taima, Ko-Bizen, and Ko-Aoe), but the workmanship of these blades, in jigane, hamon, and signature manner, places this smith firmly within the Ayanokoji group. The references describe him as a follower of Ayanokoji Sadatoshi, and one setsumei connects the quality of the jiba and overall bearing to Sadayoshi of the same group, inheriting the classically archaic style of the line.

The forging is itame-hada, in places tending toward hada-dachi or mixed with mokume, o-itame, and a jifu-like grain; fine ji-nie adheres thickly, and a standing nie-utsuri (or jifu-utsuri) is a recurring feature typical of Kyo-mono. The hamon is founded on suguha-cho mixed with ko-midare, ko-gunome, ko-choji-like forms, and shallow notare, with ashi and yo entering and a bright nioiguchi. Nie covers the habuchi, which shows hotsure, small tobiyaki, and yubashiri that in places produce a nijuba-like impression, while kinsuji and sunagashi run as reliable hataraki. The boshi varies from straight with maru and slight hakikake to midare-komi tending toward yakizume. Sugata is an elegant tachi with high koshizori and remaining funbari.

For collectors, the decisive kantei points are the Kyo character of the work: the densely adhering fine ji-nie raising nie-utsuri, the reverse-slanting (saka-gakari, Kyo-saka-ashi) tendency of the irregularities toward the point, and the wazori-like curvature that separates this hand from Bizen and Bicchu production. Extant signed works are few, so the surviving two-character mei examples carry particular weight, and even the mumei ubu-tang tachi is valued as the piece that should most properly be appraised as Sueyuki. One signed tachi is traditionally said to have been formerly owned by the Mizoguchi family, lords of the Shibata domain.