Yoshitsugu is counted among the representative smiths of the school during the late period. He bore the title Uemon no Jo and was a resident of Manju in Province, belonging to the lineage. His long signatures — such as "Bishu Manjusho ju Uemon no Jo Yoshitsugu " and " no ju Uemon no Jo Taira Yoshitsugu " — are the form most commonly encountered among his surviving works, with dated examples from the Gentoku and Kareki eras establishing his active period. Earlier works bearing shorter two-character signatures are also known and are thought to predate the long, dated inscriptions.
Yoshitsugu's workmanship conforms to the general manner shared by works of this period, with the characteristic features of the school well expressed. His display deep curvature with a that is somewhat compact. The is tending toward , with adhering and areas of clear, refined steel mixed in. The is typically -based — whether toned with mixed , or showing slight — with the tight and , attaching, and entering frequently. The is straight, forming at the tip. The characteristically follow the pattern associated with the school.
Yoshitsugu occupies a position of importance as a representative figure of the lineage at its height. His works demonstrate the typical late- style of the school, with forging and tempering of excellent quality. Examples retaining are especially valued for the light they shed on the evolution of his signature practice, from early two-character to the long, dated inscriptions of his mature period. His finest blades are praised as being in both and .