Sukeyori was a swordsmith of the Ko-Aoe school of Bitchu Province, active during the early Kamakura period. The Aoe lineage is traditionally traced to Yasutsugu of the Joan era (1171--1175) and thereafter produced many noted craftsmen through the late Nanbokucho period; works dating no later than approximately the mid-Kamakura period are especially distinguished as Ko-Aoe. Representative smiths of this early group include Moritsugu, Tametsugu, Tsugie, Tsugutada, Sadatsugu, Yasutsugu, Kanetsugu, Tsunetsugu, Toshitsugu, and Suketsugu, among others. In the meikan, Sukeyori is recorded with a Shoo-era dating that is regarded as probably not greatly in error. All blades bearing the Sukeyori signature that have been confirmed in shinsa to date have been limited to tachi, and all share the consistent two-character mei and common features in both workmanship and manner of cutting the inscription.

Sukeyori's forging characteristically displays itame mixed with mokume, tending toward standing grain and producing the so-called chirimen-hada --- the crepe-like texture regarded as diagnostic of the Ko-Aoe group. The jihada is rich in chikei and jifu, with fine, thick ji-nie adhering throughout. A faint utsuri may stand up within the surface. The hamon is based on suguha with slight shallow notare or ko-midare, sometimes mixed with ko-choji; the nioiguchi shows a somewhat shizumi tendency, and thick ko-nie adheres, with ashi, yo, and occasional nie-streak-like activity producing a deep and resonant character. The boshi typically enters ko-maru, at times with hakikake. The nakago bears the distinctive o-sujikai filemarks and signature placement on the ha-ura, centered below the mekugi-ana --- conventions characteristic of the Aoe school as a whole and clearly distinguishing these works from contemporary Bizen production.

Compared with the forging usually encountered in this school, Sukeyori's finest works show a ko-itame that is uniformly tight, presenting a well-refined and notably elegant texture. The NBTHK has observed that both ji and ha clearly express the workmanship typical of this group, while conveying the subdued, austere flavor that sets Ko-Aoe apart from Ko-Bizen and related traditions. Extant works by Sukeyori are few, and tachi retaining an ubu-nakago are especially scarce, rendering authenticated examples exceedingly valuable as documentary material. His superior pieces are praised for a dignified form well complemented by an archaic hamon.