Jitsua is a swordsmith of Province traditionally regarded as the son of Sairen Kuniyoshi and the father of . His lineage places him squarely within the Kyushu classical group descended through the line of Ryosai, Nyusai, and Sairen. Among extant works bearing dates, examples inscribed Genko 3 (1333) and Kenmu 2 (1335) make his period of activity largely clear, while sword drawings dated Kareki 2 (1327) appear in sources such as the Oseki-sho and the Kokon Meizukushi. Signed examples are, however, comparatively few. Whereas his son brought to full fruition a - style in which both and are bright and -- clear and keen -- Jitsua's manner strongly preserves the working range of the Kyushu classical group, giving the impression of conservative adherence to the traditions of that lineage rather than the stylistic evolution his son would later achieve.
Jitsua's forging is characterized by large-patterned that stands up and flows on a bold scale, at times presenting an -like texture -- a feature the regards as "genuinely intriguing" and one that recalls characteristics shared with the Naminohira school of Kyushu. Within his lineage, he shows "the most vigorous and unruly tendency," with that is conspicuously roughened and forceful. Thick adheres with abundant , and the typically shows a somewhat blackish tone with standing out. His is principally in which the tends toward -- a moist, soft quality -- and takes on a (subdued) character. The shows , with uchi-noke, , and appearing; in the hardened edge, the - rises, and intertwined with it, complex internal activities produce what the describes as "an archaic and quietly astringent flavor." Compared with Nyusai and Sairen, Jitsua also produced blades of notably wider construction, including imposing forms with extended and strong characteristic of the mid-to-late period.
The consistently positions Jitsua as the smith who most faithfully preserved the established domain of the Kyushu classical tradition while exhibiting, within that domain, the strongest inclination toward a rough and vigorous character. His blades are repeatedly described as "conspicuously manifesting the characteristics of the Kyushu classical group," and the boldly patterned, standing grain with its untamed impression is treated as the decisive criterion for attribution. Works attributed to him are praised for their "dignified and imposing presence," for workmanship that is "rich in ," and for producing "an archaic, restrained flavor of great depth." His place within the tradition is that of a conservative master whose unrefined power and provincial character stand in deliberate contrast to the bright, refined clarity that his son would perfect in the - manner -- a generational pivot that the invoke repeatedly as the defining frame for understanding Jitsua's art.