Chikakage is transmitted, according to the commonly accepted view, as a disciple of Nagamitsu of the school in Province. Dated works among his extant blades range from the Showa era of the late period through the Jowa era of the early period, placing him in roughly the generation as Kagemitsu, though he is regarded as slightly junior. Because there exist works by Kagemitsu whose manner of signing is entirely consonant with that of Chikakage — suggesting pieces signed in Kagemitsu's name by Chikakage as — it is inferred that the relationship between the two was extremely close. Among later works dated to the Koei and Jowa eras, differences in style and manner of inscription have led to a theory positing a second generation, though the matter remains under study. The provenance is further confirmed by a rare inscriptional variant in which "" is employed in a yago (house-name)-like manner rather than the standard phrasing.
In workmanship, Chikakage's style resembles that of Kagemitsu within the lineage; however, close appraisal reveals traits through which one can discern this smith's individuality. His is typically mixed with and , tending toward — a standing grain more prominent than Kagemitsu's refined, closely knit forging — with areas occasionally showing o- and a somewhat irregular texture. Very fine adheres thickly, enters well, and vivid stands out with particular clarity. The is characteristically -based, mixing , , and -style , with , , and entering well; the undulations display a pronounced (reverse-slanting) tendency that is a distinguishing hallmark. The within the temper is stronger than anything seen in Kagemitsu, with adhering well alongside and . The rises above the in a manner that exaggerates the so-called Sansaku-, and in many examples the tip takes on a distinctly pointed tendency — features constituting minor yet decisive stylistic differences. His signatures characteristically employ (reverse-chisel work), producing long inscriptions cut with fine chisel strokes close to the .
Across the body of designated works, the consistently affirms that Chikakage's blades display "the superior characteristics of late- work" while exhibiting the smith's particular character through the stronger , the tendency of the , the prominence of , and the exaggerated . Many examples are praised as — sound and well-preserved in both and — and are described as showing "an outstanding level of workmanship" within this smith's oeuvre. His typically retain dignified forms with , wide , and thick , presenting a powerful and imposing . Several blades carry distinguished provenance through the Tokugawa shogunal house and prominent feudal families, accompanied by of the period. Chikakage stands as a smith whose individuality emerges from within the mainstream tradition — not through departure from the school's essential character, but through the heightened expression of , the distinctive reverse inclination of the temper, and the emphatic rendering of the that together constitute a personal idiom of the highest order.