Tsuguyoshi belongs to the school of Province, a lineage broadly divided between "" -- works produced up to around the mid- period -- and "" proper, encompassing production from the late through the era. Within this latter group, observable differences in style distinguish pieces from the late through early period from those made at the height of the era. Tsuguyoshi stands alongside Tsugunao and Moritsugu as one of the representative smiths of the school in the period. A dated bearing the inscription Jowa 3 (1347) confirms his active period, and era-dated inscriptions such as "Koei" are encountered among his works, though they remain rare.
Tsuguyoshi's workmanship displays two principal manners: one in and another in a flamboyant -. In general, he is more often associated with , whereas his contemporary Tsugunao frequently employs the - mode. His forging characteristically shows dense mixed with and , with adhering thickly and fine entering. A hallmark of the school is that rises distinctly -- appearing as suji- in streaks or stepped -- and the steel is described as refined and clear. His , whether a foundation mixed in places with or a slender gently undulating in , consistently exhibits a tightly formed that is bright and clear. Many examples show small inserted with a slight tendency toward , and stripe-like appear within the temper. The is typically straight, turning back in , at times with slight .
In both the and modes, the bright and tightly bound constitutes a principal point of appreciation and is recognized as a defining characteristic of the school. The has affirmed that Tsuguyoshi's finest works "fully display the salient points of this smith, who excelled in ," while his distinctive "clearly manifests characteristics of the tradition." His blades are appraised as excellent examples of the early period, and the survival of pieces retaining with dated inscriptions is regarded as being of particular value.