Where closes with the generations, the chapter that follows opens in early and runs to the end of the period. The draw the boundary plainly: works that descend no later than are called , while everything thereafter is referred to simply as Uda. This later phase is the long continuation in , where the -named line that began with Ko-Nyūdō Kunimitsu of Uda District in Yamato extends across successive generations sharing single names. Kunihisa, read by the as son of Kunifusa and active from the Ōei era, runs through several generations down to the close of ; Kunimune carries from into with dated pieces around Bunmei; and the later registers add Kuninaga, Kuniyoshi, Hirakuni, Sanekuni, Kunikiyo, Tomohisa, and Kunitsugu, names the sources place from Eikyō through Tenshō. Because individuals individuate little, a signed blade of this phase is appraised as the manner of its dated moment rather than the hand of one smith.
The steel of the later phase keeps the school's northern foundation while standardizing its expression. The describe mixed with , the grain overall standing () and tending to flow (), with adhering and entering; the leans blackish, and a stands distinctly in the , sometimes with mottling. Over this the temper most often opens as a -based or line into which runs continuously from base to point, and entering, adhering along a bright , with and occasional . A second, more agitated face mixes , and pointed with thick , and that on a Kuninaga tend toward . Against the earlier this reads more regularized: where the early generations stayed close to their Yamato and models with archaic , the later hands settle into the elongated Ōei form (broad for its width, with ) and, in the , the wide of advancing . The Kunitsugu shows this drift toward coarseness directly, its standing and rough, the uneven and the temper darkening at the edge.
To separate later Uda from is to read the steel before the temper. The whitish, standing with its blackish cast and returns a blade to this phase even when a -laden recalls at first glance, and a tightly forged may, as with the better Kunihisa pieces, approach Kunimitsu or Kunitsugu before the dark northern grain brings it home. Distinctive markers recur across the named smiths: the that becomes pointed and is tempered down with a long , the flaring (susodoshii) , somewhat coarse rounded mixed within the , and the particular shaping of the character in the signature. Dated and signed pieces anchor the chronology, from a Kunihisa of Ōei 7 to a Kunimune placed around Bunmei and Hirakuni and Sanekuni works set near Tenbun. Provenance for the phase tends toward settled holding, with examples resting in the Imperial Collection rather than circulating.