__________________________
"Two-characters" KUNITOSHI
________|____ 
RAI KUNITSUGU "Ten Students" GEN-TOKU 1329 
________|____   
RAI KUNITSUGU(2) (KUNIHIDE) SHO-KEI 1332 
        |__________________ ________________________________ 
________|____          ____|____                ____________|____
RAI HIDETSUGU TEI-JI   SADAMITSU -RYAKU-O 1338- ECHIZEN MUNEMITSU
    ____|___     1362                    ___________________|    
    SUYEYUKI(1) BUN-WA 1352         ____|____ -brothers-____|____
        |____________ __________    SHIGEKUNI    SETTSU YOSHIKUNI
    ____|___     ____|____  ____|____      - EN-BUN 1356 -
    SUYEYUKI(2)  SUYETSUGU  SUYEYOSHI 
             - EI-TOKU 1381 -

"The Ten Students"
RAI KUNITSUGU(1) GEN-TOKU (t: KUNITOSHI): SABUROUEMON. Cousin or
        brother-in-law of KUNIMITSU. Work from KA-REKI 1326 to
        SHO-KEI 1332 making MITSU-MUNE, HIRA-TSUKURI O-TANTO and
        wide KO-WAKIZASHI of slight SORI. There are few TACHI. 
        Standing ITAME-HADA shows CHIKEI under strong JI-NIE. 
        KINSUJI cuts ASHI within KO-NIE FUKASHI KO-MIDARE or 
        GUNOME-MIDARE that holds to a gentle NOTARE roll. YAKIBA
        is clear and may flare outside the HAMON as TOBI-YAKI or
        SHIMA-BA. Or in the JI as YUBASHIRI. KINSUJI "feet" face
        each other from the reach of falling ASHI. In the classic
        view,  these are called SAGARI-ASHI "falling" and 
        AGARI-ASHI "rising." They may connect forming long 
        KINSUJI. SUGUHA to KO-MARU BOSHI or perhaps MIDARE with 
        TOGARI-KAERI. Carved HI and HORIMONO of BONJI, KEN or 
        GOMABASHI, usually along the MUNE. His works of TANTO 
        having GUNOME within an ASAKI-NOTARE line reflects his 
        SOSHU School experience. See Tokubetsu Juyo Rai Kunitsugu 

HIRA-TSUKURI, MITSU-MUNE, slight SORI. A groove-lined BO-HI mimics an absent SHINOGI enhancing the stately appearance which follows its wide, straight lines. 

The very fine ITAME HADA has CHIKEI and clear, profuse JI-NIE. 

TOGARI finds roosts on uneven GUNOME. KINSUJI and SUNAGASHI draw a flat plain through far and near jutting rises. TAMA rolls down the BOSHI while SHIMA-BA hangs lazily. KINSUJI furrows the MONOUCHI. 

KO-MARU pulls a reticent KAERI onto the MUNE. UBU NAKAGO with two MEKUGI-ANA. 

Signed in the lower:
                         RAI KUNITSUGU 

NAGASA: 29.7cm 
NAKAGO: 10.6cm

Late-KAMAKURA/early NAMBOKUCHO OTANTO SUGATA where RAI sings the SOSHU song. While similar to the JI-DAI, its withered FUKURA imparts a slender appearance. 

RAI HADA has JI-NIE and CHIKEI.

A quiet serenity is acheived in its SOSHU GUNOME within NOTARE undualations. NIOI-GUCHI is FUKAi with KO-NIE. SUNAGASHI brushes while KINSUJI enscribes. 

Many mounted: two MEKUGI-ANA, several filled. Straight falling NAKAGO is signed at the bottom: 
                                                                             RAI KUNITSUGU

HIRA-TSUKURI, MITSU-MUNE. Wide bodied, the BO-HI resolving low helps perpetuate the length and reach to its elongated KISSAKI. The FURISODE NAKAGO adds an aristocratic feel. 

ITAME HADA has JI-NIE covering CHIKEI. 

A particualrly strong YAKIBA has ASAKI-NOTARE with CHOJI-MIDARE and GUNOME crushed and competing. ASHI pulls and cuts through a NIOI-FUKASHI and KO-NIE SUNAGASHI and KINSUJI war. 

Small RAI KO-MARU pulls against a TSUKI-AGE rush at the SAKI. 

SURIAGE FURSODE, two MEKUGI-ANA NAKAGO is signed at the bottom: 
                                                                                     RAI KUNITSUGU

KUNITSUGU(2) SHO-KEI: RAI HIKOTARO. Also signed RAI KUNIHIDE to a
        3.6 SUN YARI. ITAME-HADA has JI-NIE. SUGU NOTARE-CHOJI 
        and NIE-DEKI ASAKI-NOTARE YAKIBA with SHIMA-BA.

KUNIHIDE SHO-KEI:  Same as RAI KUNITSUGU(2). MOKUME with JI-NIE.
        SUGU and NOTARE line of CHOJI BA. 

SADAMITSU RYAKU-O (f: KUNIHIDE): Work from TOKU-JI 1306. A member
        of the SOSHU RAI stylists.

MUNEMITSU RYAKU-O (f: RAI KUNIHIDE): Moved for the ECHIZEN RAI.
           MOKUME with MASAME. SUGUHA. See ECHIZEN.

SHIGEKUNI EN-BUN (f: MUNEMITSU, br: YOSHIKUNI): AWAJI RAI. MOKUME
        with MASAME. SUGUHA.

YOSHIKUNI EN-BUN (f: MUNEMITSU, br: SHIGEKUNI): Moved to SETTSU.
        ITAME with MASAME. SUGUHA.

HIDETSUGU TEI-JI: It is taught that HIDETSUGU was the son of
        KUNIHIDE, who actually was KUNITSUGU(2). There is also 
        the proposal that the dates run close enough that all
        three are the same man. Another support of this is the
        KUNITSUGU mark of JI-BA and GUNOME within NOTARE. It is
        not unexpected of students, however. His birth is listed
        as EN-KEI 3. Made 9 SUN TANTO. Running SHIRA-KE ITAME. 
        GUNOME-MIDARE or HAKO forms within a KO-NOTARE line. 
        SHIMA-BA. KINSUJI signs, while SUNAGASHI runs. The BOSHI
        is NOTARE KO-MARU KAERI. Can be large MEI with bold 
        strokes or small with thin.

SUYEYUKI(1) BUN-WA (f: YAMATO SHIGEYASU, t: RAI HIDETSUGU): From
        YAMATO SENJUIN to RAI School. A part of the YAMATO - RAI
        romance. Changed his signature in honor of his style: 
        RAI KUNIYUKI. KO-ITAME HADA. KO-NIE KO-GUNOME with 
        SUNAGASHI through the line.