represents a distinguished lineage among the Kyoto swordsmiths, flourishing from the period through the period. The first-generation belonged to the Ryokai line and is traditionally said to have studied under Sadamune. According to transmitted records, he is written as the son, or alternatively the grandson, of Ryokunobu, who is described as a child of Ryokai. Old texts place his activity in the Kenmu era (1334--1338); however, among extant works there are no dated examples from Kenmu or its immediate vicinity, nor are there works that can be appraised as reaching back so far. Because the style of the earliest surviving dated works -- those bearing Enbun and Joji era dates -- connects directly with Sadamune, the prevailing view today is to regard the Enbun-Joji smith as the . That this tradition finds support is evidenced by the appearance, in works dated Enbun 3 (1358) and Koan 1 (1361), of in keeping with school tradition, and by the tendency of the to flow regardless of whether the temper is straight or irregular. Thereafter, a succeeding-generation emerged toward the close of the period, and in the early period there appeared the so-called Oei -- Saemon-no-jo and Shikibu-no-jo -- admired collectively under that appellation because both inscribed dates in the Oei era.
Across the successive generations of , two principal tempering modes predominate: expressing the Kyoto tradition, and inheriting a Sadamune-like manner. From the late succeeding generation through the Oei-period masters, however, one can newly observe an expanded repertoire of -ba in which is the principal theme, frequently showing paired tendencies and -shaped elements. The characteristically displays mixed with , tending toward and flowing near the edge -- a feature that suggests the connection to the Ryokai line. The forging is marked by thickly applied , abundant , and conspicuous . The is bright and clear, with well-adhering , while and appear frequently throughout the temper. In the more dynamic works, , , and enliven the composition. Both Saemon-no-jo and Shikibu-no-jo are known for excelling in ; the dense and powerful carvings executed on both sides of their blades are a hallmark of the school. A major point of connoisseurship in Saemon-no-jo's signature is that within the enclosing element of the character , the interior is formed as the character (left).
The lineage occupies a position of singular importance within the Kyoto smithing tradition, bridging the - inheritance of Sadamune with the native Yamashiro heritage of the school. Works of the are consistently praised for their superior forging -- the laid with abundant and interwoven producing a clear steel of elevated quality -- and for a temper whose bright is rich in activities and full of variety. The repeatedly affirm that both and are -- sound and well-preserved -- and that the workmanship is excellent, with pieces described as representative examples of the 's - manner. Among signed works by , are comparatively few, lending them particular documentary value for research into the school. The school's provenance records further attest to its esteem: blades were transmitted in such families as the Oshimazu of Satsuma, the Kuroda of , and the Asano of Geishu, while one -- the "Arao " -- stands as an especially fine work that can be regarded as a representative example of the first generation.