The school of the Ōtenta — the great Miike tachi counted among the Five Swords Under Heaven. In Heian-period Chikugo, Miike Denta Mitsuyo forged wide, majestic blades in a dark, ancient steel; his Kokuhō masterwork passed from the Ashikaga shōguns to the Maeda house. The line he founded worked on in Kyūshū into the Muromachi period, its rare survivors carrying the deep, archaic dignity of the first age of the Japanese sword.
Era
1050 — 1500
Members
29
Kokuhō
1
Jūbun
2
Jūbi
1
Tokujū
1
Jūyō
5
For Sale
1
29smiths1Kokuhō2Jūbun1Jūbi1Tokujū5Jūyō
The Chikugo Miike School (三池) Lineage
The The Chikugo Miike School (三池), active 1050–1500 in Chikugo Province across 29 documented smiths: 1 Kokuhō (National Treasures), 2 Jūbun, 1 Jūbi, 1 Tokubetsu Jūyō, 5 Jūyō.
Phase 1 · The Chikugo Miike School (三池) · 1050 – 1500
Mitsuyo (光世) — Mainline · 1334-1338. Kokuhō, Jūbi, Jūyō. Smith of the Chikugo Miike School.
Mitsuyo (光世) — Mainline · 1293-1299. Jūbun, Jūyō. Mitsuyo of Miike heads one of the great names of Chikugo, and the published sources fix his standing in a single sentence: the founder, Denta Mitsuyo, is a renowned master of the late Heian period whose representative work is the Meibutsu Ōdenta of the Maeda house, one of the *Tenka-goken*, the five most celebrated swords of Japan. The same descriptions are equally plain about how little of his own hand survives. Among authentically signed work, they state, 'none exists today apart from the single Meibutsu Ōdenta' (現存する有銘作は名物大典太一口よりなく), the later blades cut with the Mitsuyo signature being the work of smiths who inherited the name. So the name is the lineage. Mitsuyo was not one man but a succession, the signature borne from the Kamakura period into the Muromachi, and the designated work that comes down to us is read by the NBTHK as the school manner carried intact rather than as the founder's own blades. The smith stands, in consequence, in a rare double light: a maker famous for one unrepeatable masterpiece, the Ōdenta, and at the same time the head of a recognizable Kyūshū hand traced across three centuries of inherited work.
That hand is a flowing, soft-looking manner the published sources hold to a quiet register. Over an *itame* mixed with *mokume* that flows and stands somewhat, *ji-nie* adhering, the descriptions linger longest on the *jigane* itself, calling it a surface 'sticky and, in a sense, very soft to the eye' (ねっとりとして如何にも軟らかそうに見える肌合), one that inclines toward a whitish *shirake* tone with a *shirake-utsuri* rising on the broader blades. The temper is built on *suguha*: a slender, fine *suguha* on the *hira-zukuri* work and a *chū-suguha* carrying *ko-gunome* on the *katana*, *ko-nie* adhering well, with *sunagashi* and *yō* and, in places, *nijūba*, *hotsure* and *kuichigai-ba*. The published sources note that even where the *ha* is otherwise bright the *nioiguchi* tends to settle, describing it as a temper 'whose *nioiguchi* takes on a subdued cast' (匂口が沈みごころとなる刃文). Against this restrained *ji* and *ha*, the one feature the descriptions single out as the school's own is the carving, and they return to it as the surest mark of the name.
The *sugata* is the grand early figure the school is known for, a broad *shinogi-zukuri tachi*, *iori-mune*, wide in *mihaba* and wide in the *shinogi*, of moderate *kasane* with a deep *koshizori* and a compact *chū-kissaki*; on the longest surviving examples it has been shortened to an *ō-suriage katana*, the original *tachi* signature lost and the attribution carried instead by an inlaid name on the shortened *nakago*. Across the forging the *itame* runs conspicuously, the published record describing a steel in which 'the *itame* flows abundantly with *ji-nie* adhering' (板目がさかんに流れて地沸つき) before it settles into that soft, whitish *ji*. The *bōshi* runs straight and turns in a calm *ko-maru*, or on one *katana* it tempers to a *yakizume* with a slight *hakikake*. On both faces the carving is a wide *bō-hi* run as *kaki-nagashi*, with an accompanying *soe-hi* on the *wakizashi*, and it is here that the descriptions locate the school's individuality, writing that 'a personality of the line can be discerned in its preference for carving wide, comparatively shallow *bō-hi*' (幅広で比較的浅い棒樋を好んで掻くところに一派の個性が窺われる).
Because the name spans three centuries, the published sources order the work not by date but by manner and by the attesting inscription. The surviving designated *katana*, the descriptions are careful to say, do not date back as far as the late Heian; yet their *jihada*, *hamon* and carving display the school's characteristics, so that the attestations upon them are judged sound and the blades placed broadly at the end of the Kamakura period. Those attestations are themselves part of the record. One *ō-suriage katana* bears a gold-inlaid Mitsuyo that the descriptions read as an authentication 'by such authorities as Hon'ami Kōchū' (本阿弥光忠などの極めと鑑せられる); another carries a large gold-powder *Miike Mitsuyo* and a red *origami* notation that the Hon'ami house valued it, in Kanbun 1, at seven *mai* of gold, the descriptions affirming that 'the gold-powder attestation is appropriate' (金粉銘の極めは妥当). The signed *wakizashi*, a wide *hira-zukuri* piece with a boldly cut two-character signature, the NBTHK calls 'sound, the workmanship in both *jihada* and *hamon* good' (健全で地刃の出来がよい). The whole make, founder and successors alike, the descriptions trace to the Ōdenta and class as 'common to early Kyūshū work' (九州古作に共通するもの).
What sets the Miike hand apart from the schools its quiet *suguha* might otherwise suggest is the *jigane* and the groove. A measured *suguha* in *ko-nie* belongs to several traditions, and on the *ji* alone a Yamashiro or Rai blade keeps a clear, bright steel; the Miike *ji* instead whitens and softens into the *nettori*, sticky character the published sources name, so that the soft *shirake* *ji* and the wide shallow *bō-hi* together pull the work back to Chikugo. The descriptions read the line as part of the broad family of early Kyūshū smiths, founded by Denta Mitsuyo rather than descending from a named teacher, its inheritance visible less in the founder's own blades, of which only the Ōdenta is known, than in the unbroken transmission of the name and its traits.
For the collector the reckoning follows from the rarity of the founder and the scattering of the name. Mitsuyo carries no National Treasure within reach and a heavy weight of designation around the one that stands above all: the Ōdenta is the founder's representative work, 'known as the representative piece, transmitted in the Maeda house' (前田家伝来の「名物大典太」が代表作として知られる), and it is patrimony, never offered. Two Important Cultural Properties carry the name in public and sacred keeping rather than on the market, among them the Sohaya-no-tsurugi, a blade of Tokugawa Ieyasu held at the Kunōzan Tōshōgū, and a *tantō* preserved at Honmyō-ji. Of the blades that survive in the wider record, one signed *katana* is held in the Seikadō Bunko Art Museum and a *naginata* in the Tokyo National Museum, so that most of his work, like the Ōdenta, is gathered into shrines, temples and long-standing collections. Behind these stand the three blades in the Jūyō tier that the Hon'ami papers attest, a small number of recorded whereabouts, of which a privately held Mitsuyo is among the rarer things a collector could hope to encounter, coming to market only seldom and as a landmark when it does. He is the Chikugo master known to the world through one unrepeatable treasure, and recognized, wherever the name was carried, by a soft whitish *jigane* and a wide shallow groove.
Mitsuyo (光世) — Mainline · 1390-1394. Mitsuyo (also read Kosei) was a smith of the Miike school lineage, originally rooted in Chikugo Province. By the Nanbokucho period, later generations of this line had dispersed to various provinces, and at least one branch relocated to Aki Province. A dated tanto bearing the inscription "Aki no Kuni ju" with a Meitoku 2 (1391) date provides direct documentary evidence of this migration. The NBTHK regards this relocation as a matter of considerable historical significance and describes such works as "extremely valuable material" for understanding the school's geographic diffusion. The dedicatory inscriptions appearing on certain Aki Province works -- naming figures such as Sanechika and Minechika -- remain unidentified, adding a layer of provenance interest to these pieces.
Mitsuyo's characteristic forging is *itame-hada* flowing toward *masame-gakari* with a standing grain tendency, enlivened by *chikei* and the presence of *ji-nie*. In more tightly forged examples, the ground becomes a dense *ko-itame*. The temper is consistently a narrow *suguha* or *hoso-suguha* in *ko-nie-deki*, with a slight *hotsure* tendency and minimal *ashi*; *kinsuji* enters within the hardened edge. The *boshi* characteristically shows *hakikake* turning to *ko-maru*. Blade forms range from *hira-zukuri* tanto with *uchi-zori* and somewhat thick *kasane* to broader, thinner pieces with shallow curvature consistent with Nanbokucho-period proportions. Carvings include *bonji* above *koshi-hi*, *katana-hi* with *suken* in relief, and *bo-hi* with *soe-hi* terminating in *kaki-nagashi*.
The NBTHK appraises Mitsuyo's workmanship as "superior" and judges it "on par with later Miike school work," situating these pieces squarely within the established technical and aesthetic standards of that lineage. Imperial provenance -- transmission through the Katsura-no-miya family -- attests to the esteem in which certain examples have been held. Within the broader Miike tradition, Mitsuyo represents the school's continued vitality during the Nanbokucho era and its capacity to maintain a refined, *suguha*-based idiom even as the lineage extended into new provincial workshops.
Mitsuyo (光世) — Mainline · 1074-1077. Tokujū. Miike Denta Mitsuyo was a swordsmith who resided at Miike in Chikugo Province. The founder is identified as a renowned master of the late Heian period, whose representative work is the celebrated *meibutsu* Odenta, transmitted in the Maeda family. "Mitsuyo" was not a single individual: the same name was successively borne from the Kamakura period into the Muromachi period. Across all eras, signed works are exceedingly few. One branch of later smiths relocated to Aki Province, as documented by dated tanto from Meitoku 2 (1391). The school's traditional style effectively comes to an end with the Nanbokucho period; in the Muromachi period, little of its former character remains.
From the time of the Odenta onward, the Miike style shares traits common to early Kyushu workmanship. The forging is *itame* that flows conspicuously, at times inclining toward *masame*, with *ji-nie* presenting a "sticky" texture; *shirake-utsuri* (whitish utsuri) is characteristic. The *hamon* is predominantly *suguha-cho* in *ko-nie-deki*, with a tendency toward *hotsure* and elements of *kuichigai-ba*, showing a *nioiguchi* with a *shizumi* (subdued) inclination. The *boshi* runs straight and returns in *ko-maru*. An individuality of the school can be observed in its preference for carving wide, comparatively shallow *bo-hi*, often accompanied by auxiliary *soe-hi*, executed in *kaki-nagashi* or *kaki-toshi*. The blade form characteristically shows a wide *mihaba* with a compact kissaki forming an *ikubi* (boar's-neck) appearance.
The NBTHK characterizes even later-generation works as preserving the traditional manner in both *ji* and *ha*, and notes the school's stylistic continuity from the Heian through the Nanbokucho period. Across the corpus, the Miike school occupies a distinctive position among early Kyushu traditions, unified by the flowing grain, subdued nioiguchi, and broad sculptural grooves that define its identity from the time of its celebrated founder onward.
Hidehiro (秀弘) — Mainline · 1053-1058. Smith of the Chikugo Miike School.
Kuninaga (國永) — Mainline · 1120-1124. Smith of the Chikugo Miike School.
Other smiths
Masayo (正世) — Mainline · 1058-1065. Smith of the Chikugo Miike School.
Mike (三家) — Mainline · 987-1596. Smith of the Chikugo Miike School.
Moritsuna (守綱) — Mainline · 1120-1124. Smith of the Chikugo Miike School.
Motozane (元眞) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Naga (永) — Mainline · 1113-1118. Smith of the Chikugo Miike School.
Nagaie (永家) — Mainline · 1211-1213. Smith of the Chikugo Miike School.
Norimitsu (典光) — Mainline · 1573-1592. Smith of the Chikugo Miike School.
Sukenaga (助永) — Mainline · 1394-1428. Smith of the Chikugo Miike School.
Tenta (典太) — Mainline · 1394-1428. Smith of the Chikugo Miike School.
Tenta (典田) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Tenta (典太) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Toshimasa (利正) — Mainline · 1132-1135. Smith of the Chikugo Miike School.
Toshimasa (利正) — Mainline · 1521-1528. Smith of the Chikugo Miike School.
Toshinao (利直) — Mainline · 1532-1555. Smith of the Chikugo Miike School.
Toshinari (利成) — Mainline · 1113-1118. Smith of the Chikugo Miike School.
Toshinari (利成) — Mainline · 1225-1227. Smith of the Chikugo Miike School.
Toshinobu (利信) — Mainline · 1334-1338. Smith of the Chikugo Miike School.
Toshinobu (利信) — Mainline · 1428-1429. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1094-1096. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1169-1171. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1332-1334. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1429-1441. Smith of the Chikugo Miike School.
Yoshiyuki (吉行) — Mainline · 1094-1096. Smith of the Chikugo Miike School.
Live·Miike lineage
三池
The Chikugo Miike School
The school of the Ōtenta — the great Miike tachi counted among the Five Swords Under Heaven. In Heian-period Chikugo, Miike Denta Mitsuyo forged wide, majestic blades in a dark, ancient steel; his Kokuhō masterwork passed from the Ashikaga shōguns to the Maeda house. The line he founded worked on in Kyūshū into the Muromachi period, its rare survivors carrying the deep, archaic dignity of the first age of the Japanese sword.
Era
1050 — 1500
Members
29
Kokuhō
1
Jūbun
2
Jūbi
1
Tokujū
1
Jūyō
5
For Sale
1
29smiths1Kokuhō2Jūbun1Jūbi1Tokujū5Jūyō
The Chikugo Miike School (三池) Lineage
The The Chikugo Miike School (三池), active 1050–1500 in Chikugo Province across 29 documented smiths: 1 Kokuhō (National Treasures), 2 Jūbun, 1 Jūbi, 1 Tokubetsu Jūyō, 5 Jūyō.
Phase 1 · The Chikugo Miike School (三池) · 1050 – 1500
Mitsuyo (光世) — Mainline · 1334-1338. Kokuhō, Jūbi, Jūyō. Smith of the Chikugo Miike School.
Mitsuyo (光世) — Mainline · 1293-1299. Jūbun, Jūyō. Mitsuyo of Miike heads one of the great names of Chikugo, and the published sources fix his standing in a single sentence: the founder, Denta Mitsuyo, is a renowned master of the late Heian period whose representative work is the Meibutsu Ōdenta of the Maeda house, one of the *Tenka-goken*, the five most celebrated swords of Japan. The same descriptions are equally plain about how little of his own hand survives. Among authentically signed work, they state, 'none exists today apart from the single Meibutsu Ōdenta' (現存する有銘作は名物大典太一口よりなく), the later blades cut with the Mitsuyo signature being the work of smiths who inherited the name. So the name is the lineage. Mitsuyo was not one man but a succession, the signature borne from the Kamakura period into the Muromachi, and the designated work that comes down to us is read by the NBTHK as the school manner carried intact rather than as the founder's own blades. The smith stands, in consequence, in a rare double light: a maker famous for one unrepeatable masterpiece, the Ōdenta, and at the same time the head of a recognizable Kyūshū hand traced across three centuries of inherited work.
That hand is a flowing, soft-looking manner the published sources hold to a quiet register. Over an *itame* mixed with *mokume* that flows and stands somewhat, *ji-nie* adhering, the descriptions linger longest on the *jigane* itself, calling it a surface 'sticky and, in a sense, very soft to the eye' (ねっとりとして如何にも軟らかそうに見える肌合), one that inclines toward a whitish *shirake* tone with a *shirake-utsuri* rising on the broader blades. The temper is built on *suguha*: a slender, fine *suguha* on the *hira-zukuri* work and a *chū-suguha* carrying *ko-gunome* on the *katana*, *ko-nie* adhering well, with *sunagashi* and *yō* and, in places, *nijūba*, *hotsure* and *kuichigai-ba*. The published sources note that even where the *ha* is otherwise bright the *nioiguchi* tends to settle, describing it as a temper 'whose *nioiguchi* takes on a subdued cast' (匂口が沈みごころとなる刃文). Against this restrained *ji* and *ha*, the one feature the descriptions single out as the school's own is the carving, and they return to it as the surest mark of the name.
The *sugata* is the grand early figure the school is known for, a broad *shinogi-zukuri tachi*, *iori-mune*, wide in *mihaba* and wide in the *shinogi*, of moderate *kasane* with a deep *koshizori* and a compact *chū-kissaki*; on the longest surviving examples it has been shortened to an *ō-suriage katana*, the original *tachi* signature lost and the attribution carried instead by an inlaid name on the shortened *nakago*. Across the forging the *itame* runs conspicuously, the published record describing a steel in which 'the *itame* flows abundantly with *ji-nie* adhering' (板目がさかんに流れて地沸つき) before it settles into that soft, whitish *ji*. The *bōshi* runs straight and turns in a calm *ko-maru*, or on one *katana* it tempers to a *yakizume* with a slight *hakikake*. On both faces the carving is a wide *bō-hi* run as *kaki-nagashi*, with an accompanying *soe-hi* on the *wakizashi*, and it is here that the descriptions locate the school's individuality, writing that 'a personality of the line can be discerned in its preference for carving wide, comparatively shallow *bō-hi*' (幅広で比較的浅い棒樋を好んで掻くところに一派の個性が窺われる).
Because the name spans three centuries, the published sources order the work not by date but by manner and by the attesting inscription. The surviving designated *katana*, the descriptions are careful to say, do not date back as far as the late Heian; yet their *jihada*, *hamon* and carving display the school's characteristics, so that the attestations upon them are judged sound and the blades placed broadly at the end of the Kamakura period. Those attestations are themselves part of the record. One *ō-suriage katana* bears a gold-inlaid Mitsuyo that the descriptions read as an authentication 'by such authorities as Hon'ami Kōchū' (本阿弥光忠などの極めと鑑せられる); another carries a large gold-powder *Miike Mitsuyo* and a red *origami* notation that the Hon'ami house valued it, in Kanbun 1, at seven *mai* of gold, the descriptions affirming that 'the gold-powder attestation is appropriate' (金粉銘の極めは妥当). The signed *wakizashi*, a wide *hira-zukuri* piece with a boldly cut two-character signature, the NBTHK calls 'sound, the workmanship in both *jihada* and *hamon* good' (健全で地刃の出来がよい). The whole make, founder and successors alike, the descriptions trace to the Ōdenta and class as 'common to early Kyūshū work' (九州古作に共通するもの).
What sets the Miike hand apart from the schools its quiet *suguha* might otherwise suggest is the *jigane* and the groove. A measured *suguha* in *ko-nie* belongs to several traditions, and on the *ji* alone a Yamashiro or Rai blade keeps a clear, bright steel; the Miike *ji* instead whitens and softens into the *nettori*, sticky character the published sources name, so that the soft *shirake* *ji* and the wide shallow *bō-hi* together pull the work back to Chikugo. The descriptions read the line as part of the broad family of early Kyūshū smiths, founded by Denta Mitsuyo rather than descending from a named teacher, its inheritance visible less in the founder's own blades, of which only the Ōdenta is known, than in the unbroken transmission of the name and its traits.
For the collector the reckoning follows from the rarity of the founder and the scattering of the name. Mitsuyo carries no National Treasure within reach and a heavy weight of designation around the one that stands above all: the Ōdenta is the founder's representative work, 'known as the representative piece, transmitted in the Maeda house' (前田家伝来の「名物大典太」が代表作として知られる), and it is patrimony, never offered. Two Important Cultural Properties carry the name in public and sacred keeping rather than on the market, among them the Sohaya-no-tsurugi, a blade of Tokugawa Ieyasu held at the Kunōzan Tōshōgū, and a *tantō* preserved at Honmyō-ji. Of the blades that survive in the wider record, one signed *katana* is held in the Seikadō Bunko Art Museum and a *naginata* in the Tokyo National Museum, so that most of his work, like the Ōdenta, is gathered into shrines, temples and long-standing collections. Behind these stand the three blades in the Jūyō tier that the Hon'ami papers attest, a small number of recorded whereabouts, of which a privately held Mitsuyo is among the rarer things a collector could hope to encounter, coming to market only seldom and as a landmark when it does. He is the Chikugo master known to the world through one unrepeatable treasure, and recognized, wherever the name was carried, by a soft whitish *jigane* and a wide shallow groove.
Mitsuyo (光世) — Mainline · 1390-1394. Mitsuyo (also read Kosei) was a smith of the Miike school lineage, originally rooted in Chikugo Province. By the Nanbokucho period, later generations of this line had dispersed to various provinces, and at least one branch relocated to Aki Province. A dated tanto bearing the inscription "Aki no Kuni ju" with a Meitoku 2 (1391) date provides direct documentary evidence of this migration. The NBTHK regards this relocation as a matter of considerable historical significance and describes such works as "extremely valuable material" for understanding the school's geographic diffusion. The dedicatory inscriptions appearing on certain Aki Province works -- naming figures such as Sanechika and Minechika -- remain unidentified, adding a layer of provenance interest to these pieces.
Mitsuyo's characteristic forging is *itame-hada* flowing toward *masame-gakari* with a standing grain tendency, enlivened by *chikei* and the presence of *ji-nie*. In more tightly forged examples, the ground becomes a dense *ko-itame*. The temper is consistently a narrow *suguha* or *hoso-suguha* in *ko-nie-deki*, with a slight *hotsure* tendency and minimal *ashi*; *kinsuji* enters within the hardened edge. The *boshi* characteristically shows *hakikake* turning to *ko-maru*. Blade forms range from *hira-zukuri* tanto with *uchi-zori* and somewhat thick *kasane* to broader, thinner pieces with shallow curvature consistent with Nanbokucho-period proportions. Carvings include *bonji* above *koshi-hi*, *katana-hi* with *suken* in relief, and *bo-hi* with *soe-hi* terminating in *kaki-nagashi*.
The NBTHK appraises Mitsuyo's workmanship as "superior" and judges it "on par with later Miike school work," situating these pieces squarely within the established technical and aesthetic standards of that lineage. Imperial provenance -- transmission through the Katsura-no-miya family -- attests to the esteem in which certain examples have been held. Within the broader Miike tradition, Mitsuyo represents the school's continued vitality during the Nanbokucho era and its capacity to maintain a refined, *suguha*-based idiom even as the lineage extended into new provincial workshops.
Mitsuyo (光世) — Mainline · 1074-1077. Tokujū. Miike Denta Mitsuyo was a swordsmith who resided at Miike in Chikugo Province. The founder is identified as a renowned master of the late Heian period, whose representative work is the celebrated *meibutsu* Odenta, transmitted in the Maeda family. "Mitsuyo" was not a single individual: the same name was successively borne from the Kamakura period into the Muromachi period. Across all eras, signed works are exceedingly few. One branch of later smiths relocated to Aki Province, as documented by dated tanto from Meitoku 2 (1391). The school's traditional style effectively comes to an end with the Nanbokucho period; in the Muromachi period, little of its former character remains.
From the time of the Odenta onward, the Miike style shares traits common to early Kyushu workmanship. The forging is *itame* that flows conspicuously, at times inclining toward *masame*, with *ji-nie* presenting a "sticky" texture; *shirake-utsuri* (whitish utsuri) is characteristic. The *hamon* is predominantly *suguha-cho* in *ko-nie-deki*, with a tendency toward *hotsure* and elements of *kuichigai-ba*, showing a *nioiguchi* with a *shizumi* (subdued) inclination. The *boshi* runs straight and returns in *ko-maru*. An individuality of the school can be observed in its preference for carving wide, comparatively shallow *bo-hi*, often accompanied by auxiliary *soe-hi*, executed in *kaki-nagashi* or *kaki-toshi*. The blade form characteristically shows a wide *mihaba* with a compact kissaki forming an *ikubi* (boar's-neck) appearance.
The NBTHK characterizes even later-generation works as preserving the traditional manner in both *ji* and *ha*, and notes the school's stylistic continuity from the Heian through the Nanbokucho period. Across the corpus, the Miike school occupies a distinctive position among early Kyushu traditions, unified by the flowing grain, subdued nioiguchi, and broad sculptural grooves that define its identity from the time of its celebrated founder onward.
Hidehiro (秀弘) — Mainline · 1053-1058. Smith of the Chikugo Miike School.
Kuninaga (國永) — Mainline · 1120-1124. Smith of the Chikugo Miike School.
Other smiths
Masayo (正世) — Mainline · 1058-1065. Smith of the Chikugo Miike School.
Mike (三家) — Mainline · 987-1596. Smith of the Chikugo Miike School.
Moritsuna (守綱) — Mainline · 1120-1124. Smith of the Chikugo Miike School.
Motozane (元眞) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Naga (永) — Mainline · 1113-1118. Smith of the Chikugo Miike School.
Nagaie (永家) — Mainline · 1211-1213. Smith of the Chikugo Miike School.
Norimitsu (典光) — Mainline · 1573-1592. Smith of the Chikugo Miike School.
Sukenaga (助永) — Mainline · 1394-1428. Smith of the Chikugo Miike School.
Tenta (典太) — Mainline · 1394-1428. Smith of the Chikugo Miike School.
Tenta (典田) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Tenta (典太) — Mainline · 1074-1077. Smith of the Chikugo Miike School.
Toshimasa (利正) — Mainline · 1132-1135. Smith of the Chikugo Miike School.
Toshimasa (利正) — Mainline · 1521-1528. Smith of the Chikugo Miike School.
Toshinao (利直) — Mainline · 1532-1555. Smith of the Chikugo Miike School.
Toshinari (利成) — Mainline · 1113-1118. Smith of the Chikugo Miike School.
Toshinari (利成) — Mainline · 1225-1227. Smith of the Chikugo Miike School.
Toshinobu (利信) — Mainline · 1334-1338. Smith of the Chikugo Miike School.
Toshinobu (利信) — Mainline · 1428-1429. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1094-1096. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1169-1171. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1332-1334. Smith of the Chikugo Miike School.
Toshinobu (利延) — Mainline · 1429-1441. Smith of the Chikugo Miike School.
Yoshiyuki (吉行) — Mainline · 1094-1096. Smith of the Chikugo Miike School.