Takahira is the individual as Kanewaka, the second-generation smith of the Kashu ( Province) lineage. Around Genna 5 (1619) he received the court title no Kami and adopted the name Takahira, thereafter signing "Tsujimura no Kami Fujiwara Takahira." His customary manner of cutting the signature arranges "Tsujimura no Kami" and "Fujiwara" as two lines above, with "Takahira" in one line below accompanied by a ; on these lines are cut in a projecting (kuidashi) style. Dated works are known from the Genna era, and for reasons that remain unclear, several blades bear the specific date "third day of the third month."
Takahira's forging displays with flowing tendencies and standing grain, sometimes mixed with and in tighter, well-forged examples. adheres, ranging from fine and abundant in some works to rough and clustered in others, with entering. The is characteristically based on mixed with , into which "ear-shaped" elements, pointed () forms, and - are mingled. The is deep, with coarse adhering and abundant running frequently; in finer pieces, and also appear. The runs straight with , sometimes slightly pointed, with a faint suggestion of . Takahira particularly excelled at producing works with broad and slightly elongated proportions (), and he is also noted for -- one surviving piece in the Imperial Collection bears elaborate relief carvings of Buddhist deities and auspicious motifs that are considered the work of a specialized carver from the province.
The surviving note that Takahira's workmanship displays a distinctive stylistic approach in both the forging and tempering, with and described as particularly splendid. His works constitute valuable material for clarifying longstanding questions regarding his official title and the relationship between the Kanewaka and Takahira identities. As a smith who bridged the transition from the late Kashu tradition into the early period, Takahira occupies a notable position among the provincial smiths.