Within the long Satsuma lineage that ran from the into the period, Sue-Naminohira (末波平) names the later chapter that carried the Naminohira tradition forward from the close of the age through the era and into the early workshops of Satsuma and neighbouring Ōsumi. The place a roster of dated smiths here: Sadatsugu of Satsuma and Haruyuki around the Tenmon era; Shigekane of Ōsumi, signing "Sūshū jū" and said also to have forged in Satsuma, dated Tenbun 14 (1545); Atsukura, who unusually prefixed the surname Fujiwara, active through Eiroku, Genki and Tenshō; and Sadakiyo, assigned to the Satō line, one of three branches (Hashiguchi, Ishigami, Satō) into which the group divides. The later Yuki-named continuation reaches into the period with Yasunetsune, counted as the fifty-ninth generation, with works dated to Enkyō and Meiwa. Throughout, the smiths worked under the Shimazu of southern Kyushu, geographically removed from the mainland centres.
The describe a recurring later manner: a forging in which the stands out and flows with a whitish cast, a low-tempered carrying , and a that tends toward , a moist and soft quality, so that both and can read as subdued. This is framed as transmitting the manner of the forebears, the Ko-Naminohira tradition, and as conservative in character, where the early phase is described instead by a fine with -otoshi at the . Several pieces here, however, depart from that base by taking up the fashions of their day. The record works in style with mixed with pointed and compound elements, and Atsukura's Sue-Sōshū-leaning blade with approaching a partial . Given the thin corpus, these are presented as the documented range rather than as fixed traits of the phase.
For , the separate this phase from Ko-Naminohira by the standing, flowing and whitish tone paired with the low, -tending , against which the brighter, and strongly -laden examples are flagged as exceptions worth noting. The with , the or , and the pointed with recur as period markers, while and register . Named hands anchor the group: Shigekane and Sadakiyo near Tenmon, Atsukura through Tenshō, and Haruyuki, whose work the compare to the Bungo Hirataka-Takada school, raising a possible contemporaneous link. The later Yasunetsune line then ties Sue-Naminohira to the Satsuma idiom, with wide, slightly long proportions and imo-tsuru .