Where the early Ko-Bungo of Yukihira represents the province's opening, the later Bungo phase covers the smiths who carried sword production in the province through the and centuries, by which time the work had reorganized around the Takada lineage and its allied groups in Kyūshū. The name Tomoyuki of Bungo, who signed "Hōshū Fujiwara Tomoyuki" and is treated as a representative figure of the Bungo smiths; Sadayuki, placed in the Takada school and transmitted as the son of Tomoyuki; and Norisada of Kutsunami-gō in Naoiri District, working around the Hōtoku era. The Takada body itself is subdivided in these notes, with a -Takada group named, and the Kutsunami smiths of Naoiri are recorded as a small, poorly documented offshoot. Bungo sits within a wider Kyūshū sphere, and the repeatedly read these blades against that regional context rather than against Yukihira's earlier output.
The traits recorded for this phase are quieter and more workmanlike than the refined associated with Ko-Bungo Yukihira. Tomoyuki's show with flowing, standing grain, sō- mixed with , a subdued () , , and carved kaki-nagashi; one calls his manner Yamato-like, "a manner shared broadly by Kyūshū works," while noting a separate resemblance to Yasuyoshi of and to the Enbun-era Kanemitsu line of . Sadayuki's Takada runs to mixed with , , and small , with a tendency in the and a tightening . Norisada's blade is with mixed small , faint , and a tending toward , described as a subdued () . The here is functional rather than the carving that distinguishes the early phase.
For , the distinguishing features the supply are the -and- or , the or tendencies in and , and the Yamato-tinged, regionally shared manner, all of which separate the later Bungo from Yukihira's earlier work. The notes also caution against confusion within the phase itself: a second Sadayuki line of the period signs in with a differing calligraphic form and must not be read as the Takada Sadayuki. Provenance is documentary rather than illustrious. Norisada's dated Hōtoku 3 blade is published in the Kōzan and is valued for research into the Kutsunami smiths, while Tomoyuki's Sadaji-dated are cited as scarce surviving signed and dated examples of the line.