Takahira is identified as the same individual as the first-generation Kashu Kanewaka, a smith of Mino lineage who relocated to Kaga Province. Around Genna 5 (1619) he received the court title Etchu no Kami and changed his working name to Takahira. He signed variously as "Etchu no Kami Fujiwara Takahira" and, in more elaborate form, as "Tsujimura Etchu no Kami Fujiwara Takahira" with kao. His dated works span from the middle of the Keicho era through the early Kan'ei years, and he is known to have favored inscribing the third day of the third month on several of his dated pieces. While katana survive, his production notably includes numerous hira-zukuri wakizashi and tanto, with the NBTHK appraisers observing that he made many tanto but comparatively few katana.

Takahira's workmanship strongly reflects the character of his native Mino, the traditions of the Seki smiths resonating throughout his oeuvre. His earlier works around the Keicho era display the broad mihaba and extended kissaki of the Keicho-shinto style, with itame-hada tending toward a flowing, somewhat standing grain, and a hamon of shallow notare mixed with gunome and pointed elements that vividly recalls old Shizu works. As his career progressed into the Genna and Kan'ei periods, the overall form moved closer to standard width with more pronounced taper and chu-kissaki. The jigane became finer, with densely forged itame predominating and fine ji-nie adhering. His tempering matured into notare mixed with gunome characterized by deep nioiguchi and well-adhering nie, and a distinctive irregularity known as hako-midare -- box-shaped elements within the temper line -- became increasingly prominent. This hako-gakari quality, together with togari-ba and a vigorous, spirited nie presence, constitutes the hallmark most readily associated with his hand. The boshi typically enters in notare-komi, sometimes with a tsukiage-like tendency and a pointed turnback.

Among his designated works, the Juyo katana with its five-fold cutting test inscription by Masamori attests to the practical cutting performance his blades commanded, while the Gyobutsu-designated tanto bearing a Genna 7 date enriches the documentary record of his early production under the Takahira name. His openwork kurikara carving, as seen on one wakizashi, demonstrates an affinity with the Echizen Kinai manner. Taken together, his body of work reveals a smith who channeled Mino vigor into the idiom of early Edo-period shinto, producing blades of forceful character and accomplished technique.