Nagamori (長守) of the school in Province has long been transmitted as belonging to the lineage of Chogi, though the evidence of dated works suggests he was not so much a student as a near-contemporary. His earliest confirmed date, Shohei 8 (1353), in fact precedes Chogi's own earliest dated work, Shohei 15, while later pieces extending through Eiwa 4 (1378) and Koo 1 (1389) attest to a career spanning several decades of the era. Like Chogi, Nagamori frequently employed Southern Court era names in his inscriptions, and the two smiths shared a pronounced - character in their work. He is recognized as a smith of "comparatively broad range," producing not only the flamboyant associated with the Chogi group but also shallow , with varied modulation, and even .
The hallmark by which examiners consistently distinguish Nagamori from Chogi is the tendency for his to resolve into "somewhat smaller patterning." Where Chogi's tempering is expansive and boldly scaled, Nagamori's mixes , , , angular elements, and pointed () forms yet settles into a more compact overall motif. His is characteristically mixed with , frequently showing with thickly adhering , well-entering , and a faintly standing or . The tempered edge displays abundant and , with fine and intermingled. The is typically bright and clear, though certain works exhibit a tendency. His enters in and often shows , with a pointed tendency or turnback. A distinctive feature noted in several pieces is the appearance of so-called ("ear-shaped") elements where two connect, and in one example, the in both and is so strongly developed as to reveal a pronounced - character.
Across the designated corpus, Nagamori's works are repeatedly praised for their "bold and splendid atmosphere," their "rustic vigor," and the abundance of internal activities within the tempered area. The characterizes his finest pieces as possessing a "florid and varied " that is "changeful and showy" yet retains a persuasive coherence that distinguishes it from Chogi's hand. Several examiners note the quality of his steel as "bright and clear" in both and , and blades in sound condition are commended for their ample and weighty, robust construction. His work stands as a significant complement to Chogi within the tradition, and the continued emergence of new dated material has proven valuable for refining the chronological boundaries of both smiths' careers.