A dated to the strengths of his hand, designated at the fortieth session, is read by the published sources as the example in which the true strengths of the second-generation Teruhiro are fully manifested. The smith who made it, Harima no Kami Teruhiro, is the second generation of the Aki Teruhiro line, the Hiroshima house of origin that worked under the patronage of the Fukushima and then the Asano in early times. He was a native of Owari of the Kanie family, commonly called Jinpachi, and signed at first as Kanehisa before he studied under the first-generation no Kami Teruhiro, was favorably regarded by his teacher, and became his son-in-law. He served the Fukushima house, moved with it to Hiroshima in Geishū, and after that family was dispossessed entered the service of the Asano. His earliest dated work bears a Keichō 15 date of 1610, so that his active years stand close to the first generation's, and he is documented as a Jō-jō smith of the early Hiroshima school.
His characteristic hand is a carried in a deep , mixed with and blades of a pointed tendency. The published sources name this his forte and, on his finest , call the deep , the evenly and thickly adhering , and the and alike bright and clear the very essence of his work, 「正に同工の真骨頂である」. Within the temper and enter, run in the lower half, streams through, and small appear here and there, the whole hardened in a that runs bright on his best work and settles toward a subdued on a quieter piece. It is the opposite pole from the showy clove temper, a controlled undulating line in which the activity is read rather than displayed.
The beneath it is an that takes in a -leaning, flowing texture and stands somewhat in , an open grain rather than a tight one. On the best the gathers at the finest into dust-fine laid thickly, with fine entering well and the steel clear, while on the the flowing stands more plainly with and . The most often turns in a ; on the largest it runs a shallow to a somewhat tip on the and becomes with a thrusting-up, pointed finish on the , and on the it goes straight to a small round turn on one face and into on the other.
Two manners recur across his small body of recorded work. The first is the deep- just described, the area in which his forte shows fullest. The second is a slightly elongated , somewhat wide in the with a thick , presenting the of Keichō-era and deliberately aiming at the flavor of work, which the published sources call a success, 「志津の風をねらって成功している」, and indeed a typical work of this smith, 「勿論彼の典型作でもある」. On these the temper is a shallow, gently undulating line with small , the tight, with a -like fraying and a slight ; they carry carvings more often than the , a or , and a lotus pedestal, or a plain . The published sources read both manners as a close inheritance of his teacher's style and infer, as with the first generation, an association with the Kyoto master Myōju, drawn from the deep- the two hands share and from the small difference in their working years.
Within the school he is set apart from his teacher by his title and by his descent showing through the steel. Where the first generation signs no Kami, the second signs Harima no Kami, and the published sources read three marks as betraying his lineage even where the temper looks to : the flowing in the forging, the pointed blades within the , and especially a reminiscent of the manner. On the finest they name these explicitly and conclude that they allow one to perceive that he was a swordsmith of lineage, 「彼が美濃系出身の刀工であることを察知させる」. His work is thus legible as Hiroshima with a root rather than as pure , the deep- and the flowing, standing placing him beside his father and apart from the smiths he admired.
Six of his works are on record, all of them designated , spanning , and , and all signed; there is no National Treasure or Important Cultural Property among them, and his line is one whose pieces survive in small numbers rather than in quantity. The published sources note that while signed Harima no Kami Teruhiro are by no means scarce, dated examples are exceedingly few, so that a bearing a date carries high documentary value, and the pieces dated 'ei 5 of 1628 and 'ei 9 of 1632 are valued for exactly that reason. Recorded ownership is private rather than institutional, and no famous provenance attaches to the recorded blades. A designated Teruhiro of the second generation is not among the unattainable names, but it is a blade that comes to a collector only from time to time and with patience, the deep- most of all the one in which, as the published sources have it, the true strengths of the second-generation Teruhiro are fully manifested, 「二代輝広の本領が遺憾無く発揮された同作中の優品である」.