The National Treasure signed Chikushū-jū Yukihiro on the and dated the eighth month of Kannō 1 (1350) on the , handed down in the Tsuchiya family, is the work by which this smith of the school is known. Its commentary records that Yukihiro belongs to the group, that few of his works survive, and that this stands out among them, approaching in form, forging and alike. It also values the date as important material for knowing when and the members of his school were active. The published sources describe the school as appearing at the start of the period and breaking away from the classical Kyūshū manner to establish work in which both and are bright and clear. Among its pupils, Yasuyoshi, Yukihiro, Yoshisada, Kunihiro, Hiroyuki, Hiroyasu and Sadayoshi, "Yukihiro is the smith whose surviving dated work is the oldest and whose workmanship comes closest to ".
The dated shows the type plainly. It is with a , the somewhat thick and the form leaning slightly to . The is a mixed with , with thick and appearing well. Its is a mixed with , slanting in reverse around the , well covered in , with and and a bright, clear ; the temper runs down from the into the tang. The runs into a , thrusts up to a point and turns back long. The tang is filed in .
His other , signed, inlaid or attributed, keep the same hand. The is a well-packed or with , at times standing a little, with dust-fine laid thickly and finely and frequently woven in; on one signed piece a stands and the steel is clear. Over it runs a shallow with and , entering, the deep and the thick, and running finely, and on some blades , , or . The most often thrusts up and ends pointed with , the tempered long. Of one the published sources write that it shows "a manner connecting in a single stream to Great ", and that "to appraise it as Yukihiro in particular is the most fitting". A quieter piece with a narrow temper and is placed with him because its and are somewhat gentler than 's own.
His signatures carry a scholarly question of their own. One is signed Yukihiro on the and Chikushū-jū on the , with vermilion appraisal notes, and is called precious for its inscription. Another, signed Chikushū-jū , was designated as a piece whose signature stands closest to that of the Kannō-dated Yukihiro, and was later raised to as an extremely rare example of Yukihiro cutting the signature. Its small form, its forging with , its brilliant and and its thrusting up to a point and turning back deeply are all read as Ō- to the life. The sources therefore count him the most skilled in technique of the group, with outstanding examples that show "workmanship just like ". They now raise "the possibility that Yukihiro's and are included" among works signed .
No long signed blade survives; of his longer work the published sources state flatly that "among long blades there are none with a signature". That record is carried by attribution. A that Kōtoku judged Yukihiro carries his gold inlay together with the ownership inscription of Asano -no-kami Yoshinaga, and was handed down in the Kishū Asano family. The same house kept the Ō-, inlaid by Kōtoku at about the same time. Because the normally placed only on heavily shortened blades and gave work a vermilion attribution instead, the sources call both inlays exceptional, perhaps made at Yoshinaga's order. The itself is broad and very thick, its standing running toward , its temper mixed with and angular and pointed elements, -led with a bright . Two are attributed to him as well, one remade from a . On the other the sources single out the , running into a and turning back pointed, as a principal point of interest.
Fujishiro grades him Jō . Eleven designated works are on record: the National Treasure , two and eight . Recorded provenance runs through the Tsuchiya family, the Kishū Asano family and the Yanagisawa family, and of recorded whereabouts his work is held at the Tsuchiura City Museum and the Gotoh Museum. The dated National Treasure is patrimony and will not trade. His signed work is limited to a few small , and most of what survives is or attributed by inlay, so a Yukihiro in private hands reaches the market only seldom. A signed piece, or a judged by the published sources to stand this close to Ō-, is among the more notable things a collector of school work could encounter.