Morimitsu (師光) of Province is traditionally recorded as the son of Tomomitsu (倫光) and the father of Morimitsu (盛光). Sword-signature compendia () treat him as spanning two generations, with extant dated works ranging from the Eiwa era of the late period through the Oei era of the early period. He stands as one of the representative smiths of the late group commonly described as the (small-curvature) makers. Works dated to the Oei era are treated by some references as belonging to a second generation, though the has noted "there remains room for further study" on this question. Alongside contemporaries such as Morimitsu (盛光) and Yasumitsu, he occupies a central position within the later school during its transition from the into the period.
Morimitsu's forging characteristically shows mixed with , , and areas of , frequently exhibiting a (standing-grain) tendency. Within the , dark-toned steel reminiscent of appears, and or faint stands out — hallmarks of the tradition. His typically takes the form of mixed with , , small -like elements, pointed forms, and -like features, with the pattern characteristically opening at the waist (). The tempering is -dominant, with attaching and a inclined toward tightness; fine appears throughout. Compared with the works of the period's height, the overall patterning is "somewhat smaller in scale," and both and present an irregular, complex visual effect that well demonstrates the characteristics of what is termed ko-tanmono (small-pattern work). In certain works, one side displays more flamboyant with pronounced waist-opening, in which the discerns "signs foreshadowing the style of Oei-."
The consistently characterizes Morimitsu's manner as "subdued" relative to his peers, yet his works are praised as demonstrating the style with particular clarity. Blades in sound condition are noted for retaining abundant (substantial remaining thickness) and for being (well-preserved) in both and . His preserve classic silhouettes with , , and or , and several retain their original tangs — features that render them, in the 's assessment, "valuable source material for research into smiths of this period." Examples of atypical forms such as are extremely rare in his oeuvre and are singled out as "notably rare" pieces. Morimitsu's body of work thus occupies a pivotal documentary position within the late lineage, bridging the older traditions and the emerging Oei- style that would follow.