Junkei signs with two characters, 順慶, and since the period that name was transmitted as the Buddhist name of the first Nagamitsu of , so that his blades were long read as the old-age work of the most famous smith of the mid- period. The published sources reject the identification. Judging from the workmanship, the calligraphy of the signature and the movement of the chisel, they find it difficult to endorse, and they place him instead as a smith active no later than the middle period, one who was not of the group and whose dating should be placed earlier. The swordbooks have long carried both the same-person and the different-person theories, and today the different-person view is the one adopted.
The prewar certifications went furthest. When two signed were certified as , the commentary attributed to Honma, then serving in the Ministry of Education, called the old reading of Junkei as a joint name of Nagamitsu an error and judged from the two blades that "there can be no doubt that they are ", adding that he had deliberately recognized the as when it was certified. Of the second the commentary by Hiroi writes that it "overall clearly manifests the characteristic features of blades".
His signed work shows a quiet, archaic hand. The forging is an that stands, on the longer of rather large grain and flowing, elsewhere mixed with , with adhering; on the second prewar it tightens into a that still shows its grain. Over it he tempers a , described on the first prewar as set in a shallow , with strong and an archaic feeling throughout. On the signed pieces the temper is a -based or narrow line of small mixed with , the thickly applied, with and intertwining with the and, on one , . and enter well where the commentary names them. The runs straight to a .
What the signed work does not show is . Of the bearing a two-character the published sources observe that " is not seen in the ", read its as a -based with small and notably strong , call the whole archaic, and conclude that it "presents one typical example of Junkei". Of the signed , cut down but keeping its two characters at the end of the tang, they note that its manner differs in feeling from Nagamitsu.
Set against these is a single greatly shortened transmitted as Junkei. It is somewhat wide, with rather high curvature for an blade and a tending to . Its is mixed with and , the grain standing, and here a appears distinctly; the temper is mixed with , and entering frequently, the deep with , and the a shallow to . The published sources explain the attribution through the same distinction that separates him from the master: among works given to Junkei some resemble Nagamitsu, but "generally they differ in being ". On that basis they write that the traditional attribution ought to be accepted.
His designated record is seven works. Two are Important Cultural Properties, designated by the state and preserved as national heritage. Their plates record both as signed of the period, one forged in and tempered in a mixed with , the other in with a , so that the temper of the appears on a signed blade as well. Two are the signed certified before the war, in 1939 and 1941, a prewar certification of important art that does not take a blade out of private hands. Three are : the , the and the signed , which is recorded in the Tsuchiya and of which the published sources write that, despite slight fatigue, "a signed is precious". The second prewar , certified with an Osaka owner, is now recorded at the Sano Art Museum, and the current owners recorded for his works also include the Mori Shusui Museum of Art. Fujishiro grades him Jo-jo . With the Important Cultural Properties fixed in public keeping and signed examples surviving in so few numbers, a Junkei of the or tier comes to market only rarely, and a signed blade in private hands is a document of an early hand that the published sources took back from Nagamitsu's name.