Hamano Noriyuki (矩随), the first of the name, was a direct pupil of Hamano Shozui, the master who represents the Nara school of metalwork. The published sources say that among Shozui's pupils he showed the most talent and earned the praise of surpassing his teacher, and that with his adopted son, the second Noriyuki, he is known as one of the leading hands of the school. He used the art names Bosoken and Gaiundo, and signed one Bosaiken Noriyuki. Of the two generations of the name, the designated works are the first's.
He worked in high relief and in nikuai-bori, the relief sunk within the plate, and his thin-relief usuniku-bori is singled out. On a of polished he sets an old pine with a dancing crane on one half and a Tatar horseman drawing his bow on the other, and on the reverse a mother and child monkey in a pine above flowing water. The commentary finds the manner of Toshinaga and Shozui within the Nara school carried on in the faces of the figures and in the pines, and calls it an outstanding example among his works.
On a two-piece set of the Six Immortal Poets the and are with a crepe-textured -ishime, carved in his own thin relief with colour in gold, silver, and . The faces are raised a step higher than the rest, which the commentary calls a mark of the school; the reverse plates carry the six poems engraved beside inlaid poem-slips. The published sources call it a fine work of his mature period. A brass of Fugen and Monju, carved in thin relief and nikuai-bori, is praised for a composition that uses open space with great skill, the two bodhisattvas and their elephant and lion full of expression.
The fourth piece stands a little apart: a of salted salmon in , signed and dated in a year at Gaiundo. The commentary notes that it shows little of the Hamano school character but is a strong work of fine carving.
His record is four works designated , all signed.