Under this name stands the second generation of the Hizen main line, Ōmi no Daijō Fujiwara Tadahiro, the most prolific master the Saga school produced. The published sources set out his life plainly: legitimate son of the first-generation Tadayoshi, he was a youth of nineteen when his father died in Kan'ei 9 (1632), yet works by him are seen from that same year, helped by the disciples who had served under the first Tadahiro. He received the court title Ōmi no Daijō in Kan'ei 18 (1641) and worked until his death at eighty-one in Genroku 6 (1693), a career of more than sixty years. Of that span the NBTHK's commentary writes that among Hizen smiths "he left the greatest number of works"[[c:1]]. Working under this code beside him is the founder's own last phase, for in Genna 10 (1624), at fifty-three, the first-generation Tadayoshi received the title Musashi no Daijō and changed his name to Tadahiro, so that the late works signed Musashi no Daijō Fujiwara Tadahiro are the founder under his second name.

The second generation's hand is read in two manners, both of which the published sources call accomplished: on one Tokubetsu Jūyō katana they record that he made "both suguha and chōji-midare, and in both he was highly proficient"[[c:2]]. The one he most excelled in is the chū-suguha. Over a tightly forged ko-itame that becomes the Hizen komenuka-hada, with ji-nie laid in a dust-fine mijin layer and fine chikei, he tempers a medium straight line tinged with a shallow notare, mixing here and there a ko-gunome or a slightly pointed element. Ashi and yō enter well, the nioiguchi is deep and in places becomes band-like, ko-nie adheres thickly, and fine kinsuji and sunagashi run through it with hotsure and an uchinoke-like effect at the habuchi. The whole closes in a nioiguchi that is bright and clear, the bōshi straight to a ko-maru.

The jigane is the constant of his work. It is the school's rice-bran jigane, a ko-itame forged so tightly that the published sources describe one blade as without the least slackness, the ji-nie densely and minutely covering it to give a moist, lustrous quality, the steel bright. Against that calm jigane the temper stays composed, and where it rises it does so as the second register, the showier Hizen chōji-midare: a clove pattern mixed with gunome, long ashi and yō entering, deep nioi and ko-nie, kinsuji and sunagashi. On one Jūyō tachi the judges note that this clove pattern is the very thing his father had not done, the smith forging "an ordered midare-ba in chōji that was not seen in his father Tadayoshi"[[c:3]]. The bōshi over both manners is the same straight ko-maru.

The two registers and the two generations give the corpus its shape. The second generation's suguha is the body of it, his chōji the brilliant exception; the published sources liken that chōji to his father's clove pattern even as they observe how he made it his own. His dated pieces sharpen the picture. One Tokubetsu Jūyō katana carries the date of the very day in Kan'ei 18 on which he received the Ōmi no Daijō title, inferred to be a commemorative work and among the earliest to bear the received-title inscription, its temper read as "an archaic flavor that appears to have been modeled after Rai works"[[c:4]]. The founder's late Musashi no Daijō phase forms the third face: a deep-nie chōji-midare over a ko-itame that takes on a nashiji-hada, several of these carrying carving by his Kyoto teacher's house, Umetada Myōju and Umetada Shichiza, bonji with a kurikara or Fudō Myōō, of which the published commentary says the carving "adds flowers to brocade"[[c:5]].

Within the Hizen line his place is exact. He is the prolific center between his father, the founder who carried the Kyoto Umetada training home to Saga, and his own eldest son, the third generation, who took the Tadayoshi name back to the main house and whom the sources call the strongest forger of the first three generations. His own bright komenuka suguha of deep nioi is the standard against which later Hizen work is read. He is set apart from his father not by the suguha they share but by the ordered chōji the father did not attempt, and from the lesser Hizen hands by the clarity of his jigane and the brightness of his nioiguchi. When his work reaches beyond his usual composure it is named for it: of one Tokubetsu Jūyō katana the published sources write that, compared with his customary work, it is "powerful in both ji and ha, a bold, forceful piece"[[c:6]].

For the collector he is among the more attainable of the great Shintō names, the natural consequence of so long and productive a life. Fujishiro grades him Jō-jō saku. He has no National Treasures and no Important Cultural Properties; his record runs instead through one hundred and sixty-four blades in the Tokubetsu Jūyō and Jūyō tiers, three of them Tokubetsu Jūyō, with a Jūyō Bijutsuhin among the founder's Musashi no Daijō works. His provenance reaches into the house he served: blades recorded to the Nabeshima daimyō, to Nabeshima Katsushige and Nabeshima Naomoto, and one transmitted in the Imperial Family, the published record noting that the Nabeshima house required the received-title signature on blades presented to it. Because he made so many, a signed Ōmi no Daijō Tadahiro is among the more findable works by a master of his rank, his suguha katana appearing from time to time at the upper tiers; yet most designated blades are held rather than traded, and a Tokubetsu Jūyō example or one of the founder's Umetada-carved pieces remains an uncommon thing to encounter, a document of the school at the height of its production.

Under this name stands the second generation of the Hizen main line, Ōmi no Daijō Fujiwara Tadahiro, the most prolific master the Saga school produced. The published sources set out his life plainly: legitimate son of the first-generation Tadayoshi, he was a youth of nineteen when his father died in Kan'ei 9 (1632), yet works by him are seen from that same year, helped by the disciples who had served under the first Tadahiro. He received the court title Ōmi no Daijō in Kan'ei 18 (1641) and worked until his death at eighty-one in Genroku 6 (1693), a career of more than sixty years. Of that span the NBTHK's commentary writes that among Hizen smiths "he left the greatest number of works"[[c:1]]. Working under this code beside him is the founder's own last phase, for in Genna 10 (1624), at fifty-three, the first-generation Tadayoshi received the title Musashi no Daijō and changed his name to Tadahiro, so that the late works signed Musashi no Daijō Fujiwara Tadahiro are the founder under his second name.

The second generation's hand is read in two manners, both of which the published sources call accomplished: on one Tokubetsu Jūyō katana they record that he made "both suguha and chōji-midare, and in both he was highly proficient"[[c:2]]. The one he most excelled in is the chū-suguha. Over a tightly forged ko-itame that becomes the Hizen komenuka-hada, with ji-nie laid in a dust-fine mijin layer and fine chikei, he tempers a medium straight line tinged with a shallow notare, mixing here and there a ko-gunome or a slightly pointed element. Ashi and yō enter well, the nioiguchi is deep and in places becomes band-like, ko-nie adheres thickly, and fine kinsuji and sunagashi run through it with hotsure and an uchinoke-like effect at the habuchi. The whole closes in a nioiguchi that is bright and clear, the bōshi straight to a ko-maru.

The jigane is the constant of his work. It is the school's rice-bran jigane, a ko-itame forged so tightly that the published sources describe one blade as without the least slackness, the ji-nie densely and minutely covering it to give a moist, lustrous quality, the steel bright. Against that calm jigane the temper stays composed, and where it rises it does so as the second register, the showier Hizen chōji-midare: a clove pattern mixed with gunome, long ashi and yō entering, deep nioi and ko-nie, kinsuji and sunagashi. On one Jūyō tachi the judges note that this clove pattern is the very thing his father had not done, the smith forging "an ordered midare-ba in chōji that was not seen in his father Tadayoshi"[[c:3]]. The bōshi over both manners is the same straight ko-maru.

The two registers and the two generations give the corpus its shape. The second generation's suguha is the body of it, his chōji the brilliant exception; the published sources liken that chōji to his father's clove pattern even as they observe how he made it his own. His dated pieces sharpen the picture. One Tokubetsu Jūyō katana carries the date of the very day in Kan'ei 18 on which he received the Ōmi no Daijō title, inferred to be a commemorative work and among the earliest to bear the received-title inscription, its temper read as "an archaic flavor that appears to have been modeled after Rai works"[[c:4]]. The founder's late Musashi no Daijō phase forms the third face: a deep-nie chōji-midare over a ko-itame that takes on a nashiji-hada, several of these carrying carving by his Kyoto teacher's house, Umetada Myōju and Umetada Shichiza, bonji with a kurikara or Fudō Myōō, of which the published commentary says the carving "adds flowers to brocade"[[c:5]].

Within the Hizen line his place is exact. He is the prolific center between his father, the founder who carried the Kyoto Umetada training home to Saga, and his own eldest son, the third generation, who took the Tadayoshi name back to the main house and whom the sources call the strongest forger of the first three generations. His own bright komenuka suguha of deep nioi is the standard against which later Hizen work is read. He is set apart from his father not by the suguha they share but by the ordered chōji the father did not attempt, and from the lesser Hizen hands by the clarity of his jigane and the brightness of his nioiguchi. When his work reaches beyond his usual composure it is named for it: of one Tokubetsu Jūyō katana the published sources write that, compared with his customary work, it is "powerful in both ji and ha, a bold, forceful piece"[[c:6]].

For the collector he is among the more attainable of the great Shintō names, the natural consequence of so long and productive a life. Fujishiro grades him Jō-jō saku. He has no National Treasures and no Important Cultural Properties; his record runs instead through one hundred and sixty-four blades in the Tokubetsu Jūyō and Jūyō tiers, three of them Tokubetsu Jūyō, with a Jūyō Bijutsuhin among the founder's Musashi no Daijō works. His provenance reaches into the house he served: blades recorded to the Nabeshima daimyō, to Nabeshima Katsushige and Nabeshima Naomoto, and one transmitted in the Imperial Family, the published record noting that the Nabeshima house required the received-title signature on blades presented to it. Because he made so many, a signed Ōmi no Daijō Tadahiro is among the more findable works by a master of his rank, his suguha katana appearing from time to time at the upper tiers; yet most designated blades are held rather than traded, and a Tokubetsu Jūyō example or one of the founder's Umetada-carved pieces remains an uncommon thing to encounter, a document of the school at the height of its production.