Clive Sinclaire Posted July 17, 2011 Report Posted July 17, 2011 Gentlemen I have in my temporary possesion, a katana by Gassan Sadayoshi, who you will recall revived the Gassan ayasugi-hada (of which I am not a fan) which had not been seen since the koto period. This was at Osaka in the Bakamatsu period. This sword, however, is in pure masame-hada in imitation of the Hosho-Yamato school of the Kamakura period. As this feature is seen on a number of different shin-shinto swords by various smiths unrelated to Gassan, I was wondering if there was some reason that prompted this that might be known to the learned mambers of NMB, as I would be surprised if it were simply spontaneous. I suppose it could simply be a reflection of the shin-shinto revival spirit, but I don't believe Yamato-den featured much in this. Any ideas? Regards Clive Sinclaire Quote
paulb Posted July 17, 2011 Report Posted July 17, 2011 Clive, I was discussing another Gassan piece yesterday, a Tanto I think paperd to Sadakazu or Sadakatsu (cant remember which one) by the NTHK. this piece is a dead ringer for a Hosho blade from the late Kamakura. Could it just be that the Gassan smiths were making these as special order copies for someone wanting a Yamato blade? regards Paul Quote
cabowen Posted July 17, 2011 Report Posted July 17, 2011 I suppose it could simply be a reflection of the shin-shinto revival spirit, but I don't believe Yamato-den featured much in this. Any ideas?Regards Clive Sinclaire I think that is your answer Clive....The revival of koto techniques in general, and the ability to work in several traditions in particular, are characteristic of the period. We see several smiths from the Suishinshi group fluent in more than one tradition. Interestingly, the later Gassan smiths continued this trend. I once owned a late war era Gassan Sadaichi signed with his late mei, Sadateru. It was done in pure masame as well..... Quote
Clive Sinclaire Posted July 17, 2011 Author Report Posted July 17, 2011 Gentlemen Thanks for your input, much as I thought I guess. Incidentally there is a Korekazu listed on To-ken.com under Sword Register no. 71 also with masame as well as one in a Dutch collection by the same smith. Like I said, I am no great fan of ayasugi-hada, which I find rather contrived and not at all appealing, so I guess the masme-hada on this blade is quite acceptable. It also seems to have some usturi I think. Regards Clive Sinclaire Quote
Surfson Posted July 18, 2011 Report Posted July 18, 2011 Clive, I'm interested that you think of ayasugi hada as contrived. I myself find it to be truly appealing and amazing that the consistency of the grain was made with such fidelity. I once had a Dewa Gassan blade that had truly fabulous hada. While it is contrived in the sense that it was done intentionally, and presumably with no technical or functional merit beyond other grain patterns, wouldn't you agree that many types of hamon patterns are equally contrived? Certainly kikusui or fujiyama or other shinto patterns. That is to say that they were often done to be part of the "art" of the sword rather than solely for utilitarian reasons. Quote
sanjuro Posted July 18, 2011 Report Posted July 18, 2011 Clive. I tend to agree with you about the ayasugi of Gassan Sadayoshi, of which I am not a great fan either. I would however be interested to know if you feel the same way about the koto examples of the ayasugi hada? Koto examples that I have seen tend to be more restrained and not as flashy as the comparable shin shinto blades. Perhaps its the darker and softer appearing nature of the koto steel as opposed to the brighter steel of the shin shinto smiths. Quote
Clive Sinclaire Posted July 18, 2011 Author Report Posted July 18, 2011 I myself find it to be truly appealing and amazing that the consistency of the grain was made with such fidelity. I think that it is partly at least the consistancy mentioned that I find forced and contrived and which adds nothing to the strength or funtional ability of the sword. Whilst this may be less so in koto it is certainly the case in shin-shinto, gendaito and even shin-sakuto. It seems to me that other jihada, such as mokume-hada or itame-hada or even masame -hada or combinations of these, reflect more natural grains and are, to a certain extent, the work of nature assisted by the swordsmiths, whilst this is not the case with ayasugi-hada which is deliberately and artifically constructed for no paricular reason other than decoration, as far as I am aware. I am also not sure how this effects the hamon where it crosses the nioi-guchi and is actually in the hamon itself. wouldn't you agree that many types of hamon patterns are equally contrived? Certainly kikusui or fujiyama or other shinto patterns. That is to say that they were often done to be part of the "art" of the sword rather than solely for utilitarian reasons. Yes I agree that certain hamon are purely decorative, but I am not a great fan of these either, but this is not a critiscm that may be levelled at Gassan workmanship, as far as I am aware. Mind you what you could say is that it is a good job that the late Gassan smiths are so good at horimono as this draws attention away from the ayasugi-hada! What I have said above is only a reflection of my own taste in ji-hada and of course, I do not expect everyone to feel the same. However, when studying nihon-to I feel that we westerners sometimes fail to be critical enough and maybe too accepting of percieved values and standards. Forgive my unseemly rambling. Regards Clive Sinclaire Quote
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