Morikage (盛景) of Osafune in Bizen Province is the most prolific and most accomplished smith of the Omiya lineage, a group traditionally said to have begun when Kunimori relocated from Inokuma Omiya in Yamashiro Province to Bizen. In recent scholarship, the NBTHK notes that "based on shared characteristics in workmanship and the commonality of the chisel-cut characters in signatures carved with a reverse chisel technique," Morikage is now understood to belong instead to a collateral Osafune line connected to the genealogy of Chikakage and Yoshikage, while the smiths who signed bold two-character signatures may represent the true Omiya inheritors of Kunimori's stream. Among Nanbokucho-era Soden-Bizen smiths, Morikage occupies a distinctive position: his output spans from the Enbun and Joji eras, with dated works extending to Oan 3 (1370) and Joji 3 (1364), firmly establishing his active period at the height of the Nanbokucho.

The NBTHK consistently emphasizes that "the range of work attributed to Osafune Morikage is broad": pieces dominated by notare; flamboyant midareba with varied mixtures of choji and gunome; works centered on angular kaku-gunome; and even suguha in an Aoe-like manner. The jihada characteristically shows itame mixed with mokume, tending toward hada-dachi, with fine ji-nie, abundant chikei, and a conspicuous midare-utsuri. Mottled, patch-like areas of jifu also appear -- a signature trait. The hamon varies from ko-notare with angular crests to brilliant choji-midare mixed with gunome and togariba; the tempering is predominantly nioi-gachi with ko-nie, and the nioiguchi shows a characteristic tendency toward shizumi -- a subdued quality that distinguishes Morikage from Kanemitsu's broader, more relaxed undulations. The boshi frequently enters in midare-komi with a pointed tendency and vigorous hakikake, sometimes rising in tsukiage or finishing in a flame-like kaen manner.

The setsumei repeatedly place Morikage among "the leading smiths of Soden-Bizen," noting that "compared with Kanemitsu, it conveys a slightly more rustic flavor." His powerful Nanbokucho-period forms -- wide mihaba, thick kasane, and imposing o-kissaki -- are praised for preserving the "archetypal Nanbokucho-period shape," and blades in ohira-zukuri and naginata-naoshi constructions are singled out as exceptionally rare and valuable. The dated examples, distinguished domain provenances -- the Nabeshima and Uesugi families among them -- and the documentary value of Morikage's distinctive sakate signature manner further elevate his standing as both a master craftsman and a critical figure in the study of Bizen sword-making lineages.