Hojoji Kunimitsu is the principal smith of the Hojoji group, which takes its name from a place in Tajima Province (Tanshu) where Kunimitsu resided during the period. Sword reference works list a first and second generation, assigning the first to the Joji era (1362–1368) and the second to the Oei era (1394–1428). Traditional accounts transmitted since olden times counted Kunimitsu among the "Three Tetsu" () — eminent disciples of Sadamune — though the has consistently noted that this lineage claim "lacks validity" and that the influence of workmanship is, in fact, far stronger than any connection. Within his group, Kunimitsu stands as the most renowned figure, celebrated above all as a master maker of .
The distinction between Kunimitsu's signed and unsigned oeuvre is a central concern of scholarship. Signed works are exceedingly few and are limited to and . These display a range of styles: in ; mixed with bearing strongly adhering and conspicuous ; and comparatively lively incorporating . Several signed employ and sanjuba effects to produce what the describes as "a calm workmanship of deep, subdued flavor." By contrast, the unsigned works attributed to Hojoji — typically and — display flamboyant "so much so that at a glance they can be mistaken for ." The distinguishing characteristics of this unsigned group are markedly stronger in both and , large-pattern forging with , vigorous standing grain (), and frequent internal activities such as and throughout the tempered area. The characteristically enters as with strong and finishes in . The often shows a darkened tone with a -tending — features that the identifies as continuous threads linking the signed and unsigned groups despite the acknowledged "stylistic gap" between them.
Kunimitsu's designated works consistently receive the 's highest evaluative language. The pieces are praised for forging and tempering that is "florid yet without any loss of coherence," while the rare signed are valued both as works "of outstanding workmanship" producing a "subdued () taste" and as material "of great documentary value" for understanding the smith's oeuvre. The condition of the and is repeatedly noted as — sound and well-preserved. Kunimitsu occupies a singular position within the tradition: a smith whose fame rests largely upon an unsigned body of work in form, while the few surviving signed pieces reveal a quieter, more restrained mode of expression that nonetheless shares, upon close inspection, fundamental points of correspondence with the flamboyant attributed works.