The progenitor of the Norimitsu line is traditionally said to have been a student in the lineage of Nagamitsu, with a dated to Kagen 3 (1305) among the earliest surviving evidence of the name. Thereafter the name largely disappears from the record until its revival in the period, when it was carried on through successive generations into the late era. The maker responsible for the majority of extant designated works corresponds to the fourth generation, identified in the genealogies as Gorozaemon, active around the Eikyo through Chooroku-Kansho eras. Together with Sukemitsu, he is celebrated as one of the twin peaks of Eikyo , and their workmanship displays an intermediary character situated between the styles of Oei- and .
The characteristic style of Norimitsu is expressed through well-packed forging with prominent standing in the , and a whose principal tone is a -- with opened valleys at the base -- into which are interwoven small-patterned , , and elements. and enter frequently, with the tending toward tightness, accompanied by , , and fine . The characteristically runs in and turns back in or with a pointed tendency. In , one encounters a more restrained manner: in with a bright , well-forged of tight grain, and distinct -- features that faithfully preserve the foundational - workmanship of the period.
Throughout the designated corpus, the consistently affirms that Norimitsu's works carry forward the characteristic manner of Oei-, with the quality of both and described as outstanding. Particular value is placed on pieces that remain -- sound and well-preserved -- with abundant , original edge surviving at the base, and crisply retained signature characters. The finest examples are singled out as "the outstanding example among this smith's works," blades in which form, forging, temper, and inscription have all been preserved in complete condition, attesting to the enduring vitality of the tradition at the midpoint of the period.