Harima no Kami Teruhiro, second generation, was originally from Owari Province; his family name was Kanie, and his common name Jinpachi. He studied under the first-generation Higo no Kami Teruhiro, and being held in high regard by his master, became his son-in-law. His earliest signature was Kanehisa. He is said to have first served the Fukushima house, and after that family's dispossession, to have entered the service of the Asano house, relocating to Hiroshima in Geishu. As examples of his work include an extant wakizashi dated Keicho 15 (1610), there was not a great gap in active years between him and the first generation. It is also considered that, together with his father, he studied under Umetada Myoju, and points such as the inclusion of nagare-hada in the forging and a Sanbon-sugi-like flavor in the boshi suggest roots in Mino lineages.

Teruhiro's characteristic manner centers on a ko-notare-based temper executed in deep nioi with thickly adhering nie, closely resembling the first generation's style while demonstrating superior skill in his own right. The forging typically presents itame-hada mixed with nagare-hada and masame, often showing a tendency toward hada-dachi; ji-nie adheres in fine granular form, and chikei enter frequently, yielding a steel that is notably clear. The hamon ranges from ko-notare mixed with gunome to shallow notare with hotsure-like tendencies, consistently displaying deep nioi and bright nioiguchi. Kinsuji and sunagashi appear, and in his finest works yubashiri and jewel-like tobiyaki are mixed in. The boshi typically enters as shallow notare turning back in ko-maru. Surviving works by him are exceedingly few -- even including swords, tanto, yari, naginata, and the like, fewer than twenty pieces are known -- yet they encompass a notable range of forms including hira-zukuri wakizashi, katakiriba-zukuri constructions, yari, and naginata.

Teruhiro's work achieves the Myoju-style notare temper with a depth of nioi and richness of nie that renders both ji and ha strikingly clear. His katakiriba-zukuri pieces recall Myoju's own constructions, while the Kan'ei 9 (1632) date inscription on one wakizashi provides valuable documentary evidence for establishing his working period. The workmanship of the second generation is skillful and closely similar to the first, yet his individual hand is discernible in the fuller expression of gunome within the notare undulations and in the Mino-inflected character of forging and boshi. His naginata and yari demonstrate that this notare mastery extended convincingly across blade types, and his finest works display the full strength of his abilities without reservation.