Heianjo Hiroyuki (平安城弘幸) was a student of Kunihiro who entered the school during Kunihiro's Kyoto period. He bore the surname Shimizu. According to the accepted account, he initially signed his works "Hiroyuki" (弘幸), later received the court title Tango no Kami -- preceded by an intermediate title of Tango no Daijo -- and thereafter changed the characters of his name to Hiroyuki (広幸). Surviving dated works are exceptionally rare and, for reasons unknown, are limited to examples bearing the date Keicho 13 (1608).
Among the circle, Hiroyuki stands apart in two respects. His are or extremely shallow , making him, as the notes, "an unusual case within the circle," where or file marks are otherwise standard. His forging appears in two modes: one exhibiting the -specific raised, coarse texture -- mixed with , flowing toward the edge, with large, conspicuously standing grain -- and another comparatively tightened. In either mode, densely adhering, extremely fine with fine and a tendency characterize the ground, which often carries "a somewhat blackish cast" unique to this smith. He was particularly adept at , producing narrow straight tempers in which enter, adheres well, and fine and run through, alongside frequent . Some works were forged with the intention of emulating Sadamune, while others recall old Yamato blades, conveying "an antiquated flavor beyond the usual."
Within a small surviving oeuvre in which and outnumber , Hiroyuki occupies a distinctive position. His best works display "the characteristic features of the school" while imparting a koshoku (timeworn) quality that transcends the typical manner, and the commends his carvings as executed "in the manner" and "with skill." His Keicho 13 dated pieces are described as "indispensable for the study of Hiroyuki and, as source material, extremely valuable."