Norishige was a smith of Gofuku-go in Nei District, Province, active in the late period. Although -period sword books such as the Kokon Meizukushi enumerate him among the "Ten Great Disciples of Masamune" (Masamune Juttetsu), the consistently affirms a different lineage: considering the forms of his and , and the existence of dated works bearing production years from the Showa and Gen'o eras, "it is appropriate to accept the view — recorded in -period sword texts — that he studied under Kunimitsu." Accordingly, Norishige is regarded as a fellow disciple () of Yukimitsu and Masamune rather than Masamune's pupil, and through mutual refinement among these three talents the tradition was brought to completion. Among extant signed works, are comparatively numerous, while are extremely rare — only two signed examples are known, both designated Important Cultural Properties.
Norishige's style closely resembles that of Yukimitsu and Masamune, yet "many of his works display changes in even more openly than Masamune's." His forging is the defining hallmark: within an ground, thick enter boldly — "at times forming whirlpools, at times flowing" — producing the highly individual texture known as ("pine-bark grain"). Old transmission texts appraise this quality directly: "He is highly skilled in forging the steel; the grain is not uniform; and he excels in ." The is typically a shallow -based temper mixed with , with deep and thickly adhering ; and run frequently, and appears along the grain, in some works approaching the aspect of . His characteristically show with withered , producing the form termed ("bamboo-shoot curvature"). Like Masamune, his tempering suggests reference to Hoki Yasutsuna and early works, imparting "a particular archaic flavor," while the steel color carries a somewhat blackish, 'a-iro tone — a quality associated with northern-province forging.
The repeatedly characterizes Norishige's work as manifesting "complex and manifold" patterning across both and , with "seemingly inexhaustible variation" in activity. In the richness of jimon and the abundance of internal activities, "he can surpass Masamune; yet in points such as a slightly tendency in the , and a somewhat blackish tone in the steel color with slight cloudiness, he yields something to Masamune." His finest pieces are consistently praised as displaying "a level of technique achievable only by superior craftsmen of the tradition," with and that are — sound and well-preserved. Works bearing the dated inscriptions of Showa 3 (1314) and Gen'o 1 (1319) are singled out as "extremely valuable as reference material" for establishing his chronology. Distinguished provenances among his designated pieces include the main Tokugawa house, the Kishu Tokugawa, the Satsuma Shimazu, the Hisamatsu lords of Iyo Matsuyama, and the Sakai lords of Shonai, with several accompanied by Kochu appraised at one thousand or more.
