Daijo Fujiwara Kunitsugu is represented by a signed designated at the 46th session in 2000. The published sources introduce him as one of the leading pupils of Dewa Daijo Kunimichi, together with the first-generation Shinano Daijo Tadakuni. His working dates are fixed by a signed Heianjo Fujiwara Kunitsugu and dated Kan'ei 11 (1634), whose reverse inscription records that it was forged in in Bushu; from this the published sources suggest that in his comparatively early years he worked for a time in . A further work signed no Kami Fujiwara Kunitsugu, with the reverse inscription 「於熊本以南蛮鉄」 (in Kumamoto, with imported nanban iron), shows that he later worked in Kumamoto as well.
The Kokon Kaji Biko records that in old age he signed as Kunitsugu Nyudo Jutetsu and worked in around the era, while noting that some regard Jutetsu as a different person. The published sources compare the Jutetsu signatures with his usual Daijo Kunitsugu signature, find the two characters of the name entirely in accord, and judge them to be one man, the Jutetsu works then belonging to his late years. They also consider that 「師国路の晩年には、その代作・代銘に任じていたと思われる」 (in the later years of his master Kunimichi he probably served as his substitute maker and substitute signer).
The designated is a blade with , a notably wide , extended length and shallow , the characteristic shape of Keicho . Its is mixed with and , standing and rough in the texture peculiar to work, with very fine adhering thickly and fine . The temper is broad, mixed with , large and angular elements, with , deep , thick and in places coarse , , vigorous and , in the upper half and a subdued ; the is rounded in a -like form with , and are carved on both sides. The published sources find in it, from shape to and , a result just like that of his master Kunimichi.
They note that 「大模様で華やかな志津風のこの手の作域は、国次にはあまり経眠しないが」 (this large-patterned, showy -like manner is seldom seen in Kunitsugu), and that a work of this kind strengthens the view that he made substitute work for Kunimichi. They judge it of excellent workmanship and powerful in its large build, and add that 「加えて国次の作風を研究する上で、資料的にも貴重である」 (it is moreover valuable as material for the study of Kunitsugu's style).