The name Masayuki is shared by several smiths across distinct periods and provinces. The most prominent is Hoki no Kami Masayuki (正幸) of Satsuma, son of the second-generation Ijichi Masayoshi, born in Kyoho 18 (1733) and active until his death in Bunsei 1 (1818) at the age of eighty-six. He succeeded as the third generation and initially bore the name Masayoshi; in Kansei 1 (1789), at the time as Oku Motohira, he received the court title Hoki no Kami, ceded the name Masayoshi to his heir, and took the name Masayuki. The consistently describes him as having "surpassed his forebears" and praises him for "outshining the indigo." Together with Oku Yamato no Kami Motohira, he stands as one of the "two great pillars" of Satsuma . Also bearing this name is Yamaura Masayuki (正行), later known as Kiyomaro, the legendary smith born in Bunka 10 (1813) who studied under Kawamura Toshitaka before going to and , ultimately changing his signature to Kiyomaro in Koka 3 (1846) and ending his life in Ka'ei 7 (1854) at age forty-two.
Hoki no Kami Masayuki's works are characterized by a robust construction: wide , long dimensions, thick , and an extended , often with pronounced . His favors mixed with and pointed elements (), with a markedly deep , thick including , and the conspicuous appearance of , , and . The identifies his specialty as -, "particularly excelling in a style modeled on ." His forging shows mixed with and , with thickly adhering and dark, -like kawarigane that is distinctive to his work. Yamaura Masayuki/Kiyomaro's blades, by contrast, display a keenly edged with conspicuously broad , minimal taper, narrow , little , deep , and emphasized . His forging is predominantly dense with , thick in minute granules, and abundant , producing steel that is "notably clear." The is mixing -like elements and , with thick , , and frequent and , yielding a "bright and clear" .
Hoki no Kami Masayuki is praised for blades that are "brimming with vigor and conveying a palpable force," works in which "the -modeled coloration is strongly expressed in both and ." The consistently notes that the in both ground and temper is "a step stronger" than ordinary, with , , and working actively to produce "a robust and rustic scope of expression" -- a quality described as thoroughly characteristic of Satsuma swords. His finer works attain a "higher sense of dignity" when the more intense and vine-like are moderated. Kiyomaro's works are described as possessing "strong spirit and dynamic momentum," fully embodying the -influenced idiom he privately admired, with a that is "bright and clear" and tempering that mixes diverse forms to create "heightened variation." The breadth of production under this name -- from Satsuma's commanding - to Kiyomaro's brilliant late revival -- spans two of the most significant chapters in swordmaking.