Tsugiyoshi is one of the representative smiths of the school in the mid- period, working principally in the lower basin of the Takahashi River in Province. The lineage is of great antiquity: the early eleventh-century compendium Sarugakki already lists "the swords of " among the notable products of the provinces, and the group of swordsmiths emerged as inheritors of this high reputation. Within the tradition, works through approximately the mid- period are classified as , while those from the late through the period are broadly termed . Tsugiyoshi, together with Tsugunao and Moritsugu, stands at the apex of this later group. Dated works bearing his signature range from Jowa 2 (1346) through Joji 3 (1364), placing his most productive years squarely in the height of the period, though certain works with an older stylistic flavor suggest activity beginning at the very end of the era.
Tsugiyoshi's workmanship falls broadly into two principal modes: and a flamboyant -. Of these, is encountered far more frequently in his production, while Tsugunao more often favors -. In either mode, the defining hallmark is a that is tight, bright, and clear --- a quality the consistently describes as the school's foremost point of appreciation. His forging typically presents dense mixed with , upon which extremely fine adheres thickly and delicate enter well. A distinguishing feature of the is the appearance of standing toward the , together with parallel double and triple bands of suji- near the edge that produce the stepped effect known as . In places a mottled, -like complexion or patches of may appear. His is characteristically -dominant with , yielding a that may incorporate extremely shallow , , angular elements, and with . Fine and frequently enliven the interior of the tempered area. The tends to take on a somewhat pointed character, and the conform to the school's established convention in being . Signatures are ordinarily cut on the toward the , with dates inscribed beneath in the kakikudashi method characteristic of the school.
The repeatedly characterizes Tsugiyoshi's finest works as pieces in which both and are --- sound and well-preserved --- and in which the brilliance and clarity of the is outstanding. His is praised for its quiet serenity and the unhurried, expansive manner in which the temper is laid on, imparting a sense of vigor and commanding spirit. Works of particular merit are described as kahin --- fine, appraisable examples --- while signed and dated pieces are singled out for their high documentary value as source material for understanding the range of his craftsmanship. Within the tradition, which evolved from the workmanship and somewhat subdued of toward the tight, luminous clarity of the period, Tsugiyoshi's production represents the fullest realization of that trajectory. His mastery of the bright , combined with the school's distinctive , secures his position as one of the foremost exponents of the -period manner.