The second-generation Masahiro was the son and successor of the first-generation Kawachi Daijo Masahiro, born in Kan'ei 4 (1627) and known by the common name Sadenji. In his father's lifetime he signed Masanaga. He received the title no Daijo in Manji 3 (1660) and was promoted to no Kami the following year. His father died on the fifth day of the second month of 5 (1665), when he was thirty-nine, and on the thirteenth day of the fourth month he was transferred to Kawachi no Kami. A court appointment document, the kuzen-an, addressed to him as no Kami Fujiwara Masahiro leads the published sources to conclude that he took the Masahiro name almost immediately after his father's death. He died in Genroku 12 (1699) at seventy-three, and the published record counts him, like his father, among the collaborators of the main house.
The judges set him remarkably close to his father. In both and , they write, he is skilled second only to his father, with virtually nothing to choose between them. His work in either manner is described as exactly like that of the first Masahiro, and his technique as in no way inferior to his father's. He was above all adept at the irregular temper, and one record names his showy as his own domain, 「正に彼の独壇場である」.
That is a -based temper mixed with , set wide and broadly undulating. Two features within it are named as characteristic of the second generation's : with rounded heads and an arrow-notch, -like element. Long and enter, the is deep and the thick, gathering in places in the valleys, and and run through the in abundance. Some blades add , and one is described as the showiest work in his record. As with the waki- generally, a straight may appear at the base. The is a tightly packed with dust-fine laid thickly and fine entering, several entries naming it the peculiar to swords, and on one robust piece the is said to stand slightly. The runs straight to a .
The is the second register of his record, and the published sources draw attention to it: 「初代正広よりも直刃の作品が多く見られることにも注意したい」. His works are fewer than his , yet more numerous than his father's, and even and consistent in quality. On a typical the is said to be packed even more tightly than usual, and one deep- is described as recalling the of the main house. Two further are singled out because the temper is deeper in and thicker in than his usual straight work, with and in abundance, and they are said to show a certain boldness. His bodies are often broad, thick and heavy in the hand, at times with an extended or large .
The two generations are told apart by signature. The second Masahiro most often signs no Kawachi no Kami Fujiwara Masahiro, occasionally Fujiuji in place of Fujiwara, and the published sources set out how the forms of the characters and Hiro differ between father and son, the second generation's Hiro carrying one more stroke. Carving on his blades is described as extremely rare. One , dated 12, carries carving added later by Yoshinao and a cutting-test inscription of 13 by Yamano Kanjuro.
Masahiro is graded Jo by Fujishiro. He has no National Treasures and no Important Cultural Properties, and his record lies in the rank, where twenty-six of his works have been designated. One with a broad, irregular temper and in the shape of sun and moon is called his finest and a sword representative of work; it carries a gold-inlaid cutting-test inscription by Yamano Kanjuro Hisahide and the sword name -kosode. Another bears a cutting test with the name Senpu, and the published sources note that test inscriptions are extremely rare on swords. A dated of 7 is valued as a reference piece. Recorded provenance is slight, and a signed example of the rank comes to market only from time to time.