On a dated the eighth month of Chokyo 2 (1488), Munemitsu forged a thick- with strong and a withered , over a refined with and , and tempered a bright, clear with . The published sources say of it that "it is no exaggeration to call it a masterpiece among his works". Its maker, titled Sakyo-no-, was the second son of Rokurozaemon-no-jo Sukemitsu and the younger brother of Ukyo-no- Katsumitsu. The published record counts him among the representative smiths of the late- forges collectively called . Where that school is known for a high, flamboyant temper, Munemitsu is known for the straight line.
The published sources state his individuality plainly. Examples exist of the compound typical of , but beyond that he holds "an established reputation as a superior maker of ". His usual blade is the late- katate-uchi , not greatly extended in length, with and a short tang made for a one-handed draw. Over it he tempers a bright , by turns slender, medium and broad. A dated Eisho 2 (1505) is read as showing his typical style: a broad in which and work actively, both and bright and clear. Beneath its signature a nine-character incantation is cut with the single character Katsu below it, and the published sources leave open whether this marks a joint work with Katsumitsu or simply means victory. Beside Katsumitsu the difference is one of scale. The published record notes that his "is of smaller pattern, showing the manner often seen in Munemitsu".
His is a closely forged with fine and , over which a stands; on the more reserved pieces it appears as a . A dated Bunmei 11 (1479) also carries the ownership inscription of Minamoto -no-kami Muneyoshi. Of it the published sources note the well-ordered , the standing and the slender with a tight , which give the blade a somewhat archaic air at first sight. Of a Bunmei 13 recorded in Honma's inventory of the Imperial collection they write that, for a work, "its is strong, a piece one is tempted to date a little earlier". On the blades the runs straight to a round. On both faces he cuts the devotional carvings of his time, , , and shrine names such as and , which the published sources treat as marks of the period and lineage rather than of this smith alone.
He also works in the flamboyant register, best seen on the wide of the Eisho years. Over a tightly forged with dense, fine and a standing he sets a wide temper of open-waisted mixed with and a --like pattern. and enter, small are scattered through it, and and run, the bright and clear. The enters in and turns back long. The published sources call this the typical manner of the smiths of the period. They also observe that conspicuous in the is most common in Katsumitsu among the smiths and next in Munemitsu: " stands out within the ". Because his working life was long and joint signatures survive with his nephew Jirozaemon-no-jo Katsumitsu, the published record holds that the name likely ran to a second generation, the Eisho works belonging to the second. It grants that a firm boundary between the two is hard to draw.
The published sources record that joint works of the brothers Katsumitsu and Munemitsu were prized under the name ; the blades signed with his elder brother are recorded under Katsumitsu's name. On his own record the joint signatures run to the generations on either side of him. With his nephew Jirozaemon-no-jo Katsumitsu he signed an Eisho 5 , and of it the sources write that the dated joint signature makes it "of great documentary value for research". A Bunmei 9 signed as the second son of Sukemitsu, carved with the shrine name Tensho Daijingu, is read as "most probably meaning a joint work of father and son". On the Bunmei 13 he signs Sakyo-no-, which the sources take to show that had by then passed from a place name into a surname. The published record also preserves the tradition that in Chokyo 2 he went with Katsumitsu to the shogun Ashikaga Yoshihisa's camp in Omi to forge, set up forges across and , and fought under Akamatsu Masanori.
Munemitsu has twelve works on record: ten and two blades recorded in Honma's inventory of the Imperial collection. He has no National Treasure, no Important Cultural Property, no and no , and Fujishiro ranks him Jo-jo . The variant-lacquer han-dachi of an Eisho 6 , a mid- mounting, descends in the Date house; it was first designated and later designated together with the blade. For a private collector the blades are the realistic encounter, the dated pieces especially valued for what they show of his long career and of the two-generation question. Signed and dated Munemitsu survive in fair number for a name, yet a sound dated example comes to market only from time to time, and a documented joint blade more rarely.