The — literally "small-curvature works" — constitute a distinct stylistic group within the school of Province, comprising smiths of the late period whose production falls outside the established lineages of Kanemitsu, Chogi, Motoshige, and Morikage. The group flourished from the Joji era (1362--1368) through the early Oei period, centered at in , and its members include Iemori, Motomasa, Shigeyoshi, Tsunehiro, Yoshitsugu, and others bearing the mori and tsune name elements that circulated among smiths of this transitional era. Several of these smiths are recorded in the as belonging to the Yoshikage line or as having connections to the Kanemitsu group, yet the consistently treats the as a collective whose workmanship does not properly belong to any single mainline lineage. The earliest dated works within the group bear inscriptions from the Joji and eras, while the latest extend into the single-digit years of Oei, placing the school squarely at the critical juncture between the period and the emergence of Oei-.
The collective technical identity of the is remarkably consistent across its members. The characteristically displays mixed with and areas of , with an overall tendency toward — standing grain that imparts a pronounced surface texture. Fine adheres thickly, dark steel appears in a -like manner, and vivid stands out across the ground. The is built on a foundation of mixed with , , , and occasionally -like elements, yet the overall composition remains characteristically small-patterned and somewhat subdued — a quality the terms . The temper is predominantly with , enriched by , , , and , while the commonly enters in or tends toward with . The tends toward — a tight, contained quality — though in the finest works it achieves notable brightness and clarity. Among the group's members, certain individual traits emerge: Tsunehiro is distinguished by -like with a tightened, small-patterned character; Motomasa's open-waisted hints at the transition toward Oei-; and Iemori displays marked and an archaic air in the . Yet the consistently observes that conspicuous individuality is generally not seen within the group, and the forging tends to display a mixture of various textures with a that is at times somewhat uneven.
The school occupies a position of considerable documentary importance within the tradition. Its members' dated works — concentrated in the , Meitoku, and early Oei eras — constitute precious reference material for understanding production during the critical transition from the period to the early period. Their preserve original tang forms with characteristically small, finely chiseled signatures placed close to the , providing important evidence of workshop practice within this stylistic group. While the acknowledges that the workmanship of the does not reach the level of accomplishment seen in the Kanemitsu lineage, the finest pieces by smiths such as Tsunehiro, Motomasa, and Iemori demonstrate that the group was capable of excellent workmanship — blades in which the is well consolidated, the is clear and bright, and both and are . The school's significance lies not in individual brilliance but in the collective testimony its members provide: a coherent body of work documenting a distinct current within late that stands apart from the celebrated mainline traditions yet shares their fundamental character.