The Teruhiro line takes its place in Hiroshima, in Aki province, where its swords were forged from the close of the period into early . The first generation () is recorded in the as a native of , a later descendant of Kanetsune of Seki, who signed at first as Kanetomo (兼友 or 兼伴) before studying under Myōju, taking the name Teruhiro, and receiving the court title no Kami. A dated Tenshō 17 (1589) and inscribed Nōshū Seki-jū Teruhiro shows, as the registers note, that he already used the Teruhiro name while resident in and had reached full stature before entering Myōju's circle, a point the records leave open for further study. He followed Fukushima Masanori to Kiyosu in Owari and, in Keichō 5 (1600), relocated to Hiroshima. The second generation, Harima no Kami Teruhiro, came from Owari; the give his surname as Kanie, his common name Jinpachi, and his earliest signature Kanehisa (兼久). He studied under the , was valued enough to become his son-in-law, served the Fukushima house, and, after that family's forfeiture, entered the service of the Asano. A dated Keichō 15 (1610) places his active years close to those of the first generation, with further dated works cited from 'ei 5 (1628) and 'ei 9 (1632).
Across the line the is mixed with and flowing , the grain tending to stand () and turning toward near the edge, with and throughout and steel that the registers repeatedly call clear (). The signature temper is a base, often , mixed with and pointed () elements, carrying deep , thick , , , and scattered ; the first generation's Tenshō and Keichō broaden this into large, -leaning undulations with , while the second generation favors deep- held at a high level. The commonly runs into , at times deeply into or showing . To tell the hands apart, the observe that the nidai's stands out more strongly than the 's, and that in the forging, blades in the , and a of or flavor mark his descent; both generations also worked -toned and and in a quieter key.
The treat the line as a -rooted hand carrying a strong current, and several blades are read as deliberate evocations of older models. The second generation's and are described as aiming at Sadamune, "whom Teruhiro most admired," with one bearing read as a study of old Yamato, particularly ; a wide with hardened -ba is likened to Kanemoto and Muramasa. The named registered works span the formats: the 's Nōshū Seki-jū and no Kami and , and the nidai's Harima no Kami , , , and , several signed Fujiwara Teruhiro. The records stress that surviving pieces are few, numbering fewer than twenty across swords, , , and , which lends the ōmi- and the carved examples particular documentary value; one note holds that the nidai equals or surpasses the . rests on the core with deep and thick , the standing with and , the recurrent , and the long thick-chisel signatures on tangs that fix this Aki workshop and its place under Fukushima and Asano patronage.