Rooted in Owari province at the boundary between the and eras, the Ujifusa line carried - forging into the late and early decades, working under the Tokugawa establishment of Owari at Nagoya. The here cover several hands of the group. Wakasa no Kami Ujifusa and Hida no Kami Ujifusa stand as the reference points against which the others are read. Echigo no Kami Fujiwara Ujitsune, recorded in the and the -tō Taikan as the second son of Wakasa no Kami Ujifusa, first signed Ujishige, received the Echigo no Kami title in Genna 6 (1620), and died at Nagoya in Meireki 2 (1656). Ujisada, who took the court title Izumo no Kami and signed Sakon Shōshō and Sakon Gonshōshō, is transmitted as a son of the first-generation Ujifusa and younger brother of the second-generation Wakasa no Kami Ujifusa; one of his carries a date of Tenshō 5 (1577).
The shared hand begins in the : a dense mixed with and , carrying and, in the fuller work, fine . The temper draws on the - vocabulary, a mixed with , in , large , and pointed -leaning forms, the often taking angular turns (kado-gakari). and enter; attaches, at times slightly coarse and unevenly applied, with and in the lower body and and scattered through, so that some blades verge on and . The can incline toward . The is tempered deeply and far down () with , the point sometimes drawn into a -style sharpness on one face and an on the other. Ujitsune's signed reads as a near-textbook gathering of these traits; Ujisada's tightens the () toward his master's manner.
For , the angular , the patchy , the -inclined , and the -pointed with long mark the Wakasa no Kami group; the larger work adds broad , , and thick . Carving belongs to the record: a "grass" and with appear on Ujisada's . The Ujitsune , by a smith the call a scant producer, is named his representative work, holding coherence across a great .