NihontoWatchThis blade was signed by Gassan Sadakazu(月山貞一) in August, the 31st year of the Meiji era(1898). The signature also says that he forged this blade in Osaka city. Sadakazu was born as the son of the Tsukamoto family in Omi province(today’s Shiga prefecture) in 1836. That indicates this blade was forged when he was about 62 years old. Sadakazu was adopted by Gassan Sadayoshi(月山貞吉), one of the most famous swordsmiths in Osaka prefecture, when he was seven years. Sadakazu started his training under Gassan Sadayoshi when he was 11 years old. And at incredible speed, he was able to master a lot of complex techniques. According to available records, his first blade was created in 1851 when he was 16 years old. Gassan is the name of the school he belonged to. It was initially founded during the Heian period(late 12th century). It is said that the school name “Gassan” (月山) came from the fact that they forged swords near the mountain called Gassan in Dewakoku. His master, Gassan Sadayoshi, founded Gassan school in Osaka in 1833. While Gassan school had been known as one of the most prestigious schools from the Kamakura period(late 12th century), its presence faded in the early-mid Edo period. However, after Sadayoshi became a highly-regarded swordsmith at the end of the Edo period, the whole school revitalized and flourished again because of his continuous effort and superb craftsmanship. Gassan Sadakazu supported Sadayoshi, and they spent many years researching traditional Gassan style swords and finally made Ayasugihada, the signature design of Gassan school. Ayasguhihada looks undulating grain pattern in the Jihada(steel surface), which resembles a Japanese cedar grain. At the end of Sadayoshi’s career, Sadakazu often did Daimei for his master. Daimei is a regular act where an apprentice or a child of the swordsmith signed his master’s name with his master’s permission, being involved in a sword-forging. This fact proves that the level of artistry Sadakazu mastered was closed to his master, Sadayoshi. It is said that Sadakazu was able to create various styles of blades by using different sword traditions. And, he was also famous for having beautiful sculptures on his work. When Sadakazu started his career, it was the end of the Edo period when the military government of Samurai(Tokugawa Shogunate)controlled Japan, and feudal society was the norm. There was plenty of demand of weapons from Samurais back then. However, in 1868, there was a civil war between Tokugawa’s shogunate government and the new Meiji imperial government. After this battle, the Tokugawa shogunate was ousted, and the imperial government gained control. The whole feudal system was dismantled, and the new government took the social status of Samurai. The demand for Japanese swords decreased dramatically from the beginning of the Meiji era. Many swordsmiths lost their jobs or changed their career. However, Sadakazu kept forging swords until he died at the age of 84(1918). In the post-Samurai period, he played an important role for the Japanese sword. The government recognized his contribution to his preserving the tradition of Japanese sword-forging. In 1906(the 39th year of Meiji), he received Teishitsu Gigeiin(帝室技芸員: Nationally-designated Important intangible cultural property). He also submitted his work to the Chicago expo in 1893 and received an honorable award. Emperor Meiji purchased this award-winning sword one year after the expo. His son is Gassan Sadakatsu, his grandson, Gassan Sadakazu(the-second gen Sadakazu), and Gassan Sadatoshi(Great-grandson) were famous and skilled swordsmiths. Gassan Sadatoshi and his son still keep creating beautiful swords for Japanese sword collectors today. This blade is appraised as a Tokubetsu Hozon Token(特別保存刀剣) issued by NBTHK(Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a couple of light partial black rust on the Mune (backbone) and the blade. If you like to see the detailed condition of this blade, please feel free to contact us. We will take photos/videos and send them to you. Fuchi-Kashira We would categorize this Fuchi Kashira’s design as a kind of Karakusa (唐草, arabesque) pattern. It is a design in which stems and leaves of vines are twined and make curves. Since ivy has a strong vitality and grows up without interruption, people regarded this design as a symbol of prosperity and longevity. In Japanese, Vine is called Tsuru (蔓), and it has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means thousand. In the Karakusa pattern, leaves and vines are connected like Obi (帯, belt). The word “帯” can also be read as “Tai.” Due to its pronunciation, the term 代 (Tai) is associated. From this word-association game, an idiom 万代 is associated, and it means a thousand generations. In other words, we could imagine that people used this design wishing prosperity and longevity for their clans for a long time. Tsuka and Menuki This Menuki’s motif is probably a combination of tiger and bamboo. This is a classical theme called the Take Tora Zu (竹虎図) in Japanese. The tiger seems to be looking for something to prey on, conveying a sense of tension. The tiger is a brave animal. A theory says people considered the tiger pattern would protect people from evil spirits. Therefore, its pattern has been treated as a talisman. The tiger design has also been regarded as the symbol of life activity when “tiger” is written by a Japanese Kanji character (漢字, a kind of Japanese letter) based on its meaning. It is said people wished for boys’ healthy growth by using the tiger pattern. Tsuba and Habaki This antique Tsuba has a circle shape, and its edge part is framed with a thin metal plate. Thanks to this edging, this Tsuba is protected from damages. And it also prevents the wear and tear of the Kimono if the edge damages it by touching the cloth. Around the Nakago (茎) hole, you could see Japanese letters. It is unclear to read; however, these letters usually show its maker’s inscription signature. About the design, you would find minor flower-shaped dents on both sides. These flower patterns and golden colorings are the elements of decorativeness of this Tsuba. Authentication Paper They authenticated the blade on Dec 3rd in the 3rd year of Reiwa (2021). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Yamato · around 1907-1995
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Meiji: survival after the edict
The Haitōrei edict of 1876 ended sword wearing and nearly ended the craft itself. Military demand and imperial patronage kept a remnant alive, and in 1906 Gassan Sadakazu and Miyamoto Kanenori were named Artists to the Imperial Household.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteReturns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.