Morimitsu (盛光) of the school in Province stands, together with Yasumitsu, as one of the twin pillars of the early -period smiths collectively referred to as "Oei-." One tradition holds that he was the son of Moromitsu (師光), himself a representative smith of the late period group. Morimitsu's dated works span the Oei era, from Oei 2 (1395) through at least Oei 33 (1426), a range sufficiently broad that some authorities posit the existence of first and second generations. Certain later works bear the court title Shuri-no- (修理亮), an inscription of particular documentary value. The ideal pursued by the Oei- smiths appears to have been a revival of the -period mode — their elegant proportions and tempering can, at first glance, recall the working range of the lineage and classical products. Yet even within similarly graceful silhouettes, the school expresses a distinct individuality that separates it clearly from its forebears.
Morimitsu's forging characteristically shows mixed with , tending toward a standing grain (), into which dark steel lines reminiscent of enter. adheres finely, and — whether , , or — stands out prominently. His principal mode is a flamboyant -ba centered on with opened bases ( ), mixed with , , and angular elements. and enter well, the temper is -dominant with , and the is characteristically bright and clear. Fine and run through the hardened zone, and small occasionally appear. The becomes pointed at the tip — the distinctive form popularly termed the "candlewick" (rosoku no ). Separately from this florid manner, Morimitsu also produced works in a calm style — narrow, -based, with fine along the — and these too are accomplished pieces that can evoke, in their quiet dignity, the elegance of -period work. Compared to Yasumitsu, however, Morimitsu left fewer examples in this restrained mode.
Morimitsu's significance rests not only on the consistently outstanding quality of his workmanship but also on his role in establishing the aesthetic vocabulary of Oei-, a style whose influence pervaded early sword production. His finest preserve their original with imposing, deeply curved forms that convey the grandeur of an earlier age, while the internal activities within the tempered edge — vigorous and varied — and the bright, clear quality of the bring forth his true strengths without reserve. Many works are praised for being preserved in condition in both and , and the and devotional carvings frequently applied to both sides harmonize well with the blades, further enhancing their overall impact. His earliest dated pieces, such as the Oei 2 , display a transitional character that bridges the manner of his father's generation and the fully developed Oei- idiom, making them invaluable reference material for understanding the evolution of late medieval forging. Morimitsu's oeuvre thus represents both the apex of Oei- achievement and an essential chapter in the broader lineage of the tradition.