Bicchu no Kami Tachibana Yasuhiro, whose personal name was Tomita Gorozaemon, is named by the published sources as a representative master of the Kishu Ishido group and the founder of the Osaka Ishido line, active around the era of the early period. The Ishido smiths were the generation that set out to revive the manner of the old , and Yasuhiro carried that revival as a house specialty: the published commentary describes his style as a tradition that may be called his hereditary art, a forging over which rises and on which is the temper he particularly excelled in. His name itself records the revival as historical project rather than imitation, for the school sought to recover the bright, -bearing steel that most smiths of his century could no longer produce. He worked first in Kishu under the and later moved to Osaka, where his manner became the seed of a second Ishido line, so that his blades stand at the head of two branches of the revival.
The feature that marks his work first is the in the revived manner, set over a forging in which stands clearly. On the pre-title the tightly forged carries dust-fine and a , and over it he takes the markedly wide and tempers a that mixes , , and , with and entering abundantly to produce a florid effect, the whole turned . The published sources name the school's two models directly, calling Yasuhiro and the Ishido group masters of the -copy and the -copy with an opened lower contour, both worked in . Running through his temper is an overall , a reverse slant in the and the that the commentary treats as one of his own tells, most marked in his early pieces.
The on which this temper sits is a , well packed, on the titled mixed with a flowing tendency and at times a -leaning grain along the , with fine and a faint rising over it. The is the conspicuous mark of the Ishido revival, the bright reflection that the published sources take for the foundation of his work and that separates him at sight from the great run of smiths. The runs straight to a with slight and a long or deep return, and on the early he carves a on the against on the , both finished in . The result on his best work is a high, bright with a tightening tendency, the broad and full of incident rather than reduced to small repeating patterns.
His hand divides cleanly by the moment in his career, read off the signature. Before he received his court title he signed such forms as Oite Kishu Yasuhiro and no Yasuhiro, at times prefixing Toichi as in no Toichi Yasuhiro; after receiving the title Bicchu no Kami he cut a long six- or seven-character signature, sometimes dividing the inscription across the two faces, and carved a chrysanthemum crest on the reverse, the mark of his titled work. The published commentary reads the wide, florid pre-title as a youthful, vigorous piece, where the strength of the is felt more than usual and the blade is filled with spirit, and notes that no other of such stout and magnificent build had been encountered. Apart from his house style stands a kawari- centered on large with deep and well-adhering ; the commentary ties this departure to his earlier name, written Yasuhiro with a different character, recording that in that period he left collaborations with Yamato no Kami Yasusada, so that features reminiscent of Yasusada can be recognized in the , and judging that such a work is therefore not unnatural for him.
What sets him apart within the field is drawn from his own grounded traits rather than from the comparand. His bright and his in the recovered manner are features most of his contemporaries could not make, and his recurrent and the chrysanthemum crest of his titled period mark his blades as his. The published sources judge his titled the full, unreserved display of Bicchu no Kami Yasuhiro's strengths and an outstanding work among his production, noting greater height variation in the edge than in his customary pieces. He stands at the junction of two Ishido branches, the representative of the Kishu group and the founder of the Osaka line, and into both he carried the and the -revival .
Yasuhiro's signed and survive in modest numbers, four of them on record at the level and all of them signed, with no work raised to National Treasure or Important Cultural Property rank, so that none is permanently held out of private hands. His designation factor and his standing in the reference gradings place him among the upper Ishido hands rather than the very first names of the period, which is the honest measure of a fine school smith rather than a national master. Provenance is recorded for two of his blades: the broad, robust pre-title the published sources call beyond anything they had seen was transmitted in the Shimazu house of Satsuma during the domain era, and one of his is recorded as held in the Imperial collection. A signed Yasuhiro sits almost wholly within the tier, held more often than traded, and a securely signed example, dividing between his florid pre-title manner and the chrysanthemum-marked work of his titled years, comes to the serious collector only from time to time, a representative piece of the Ishido revival when it does.