THE YASUTSUGU SCHOOL OF SWORD SMITH'S

The Yasutsugu line of Sword smith's was one of long tradition.  The school's unbroken linage spanned eleven generations. It began with the Shodai, who was born the son of the sword smith Hironaga.  Hironaga was the last descendent of Yamato no Kuni Senjuin, and was a member of the Yamato Senjuin Ha.  In fact, Yasutsugu's entire family was reputed to have been involved in the sword smithing profession.  His Grandfather Kanemasa, was a Mino sword smith.  This is speculated as to why Shodai Yasutsugu's works exhibit traits of traditional Mino characteristics.

Unfortunately, after the Nidai or second generation the works produced declined significantly. The two Sandai's were considered competent and equal in skill. Throughout the following successive generations only the Yondai produced works of any notable quality.  There were very few works from the fifth through the tenth generations, and little if any information available regarding their works.

SHODAI YASUTSUGU

c.1596

Shodai Yasutsugu, was known as Shimosaka Ichizaemon. He was born in Shimosaka which was located in Omi Province. In the Bunroku period (1592-1596) he received the title of "Higo no Daijo" and signed "Echizen Kuni Shimosaka". During this time he moved to Fukui in Echizen province where he was retained by Yuki Hideyasu. In approx. 1603, by the Ogosho or highest authority, he was granted the use of the "Aoi" or Hollyhock Mon. The Aoi Mon was the official mon of the Tokagawa Clan. It was at this same time he was also granted the use of the kanji "Yasu" 康 by Tokagawa Ieyasu and changed his mei to "Yasutsugu".  After this important point in his life, Shodai Yasutsugu was required to leave Echizen for Edo every other year in order to work as Kaji for the Tokagawa Kei. This continued up until the Sandai, when the school relocated to Edo permanently. 

Shodai Yasutsugu was a highly skilled sword smith. He was skilled not only at forging swords in his own style, but also a master of replicating (utushi-mono) old Koto blades and the art of re-tempering (saiha). These utushi-mono were commissioned by the Tokagawa Shogunates such as Hideyasu, Ieyasu, as gifts to distinguished Daimyo and officials.  He was known to have made excellent copies of Masamune, Sadamune, Nobukuni and others. Many of the old Daimyo mumei heirlooms found today are thought to be  utushi-mono made by Shodai Yasutsugu. Once the battle of Osaka (1614 - 1615) had ended, Shodai Yasutsugu was summond to Osaka. Here he was commissioned for the restoration (saiha) or replication (utushi-mono) of a great many masterworks which had been destroyed when Osaka Castle was burned.

It would be quite impossible to discuss the works of either the Shodai or Nidai Yasutsugu without mentioning Horimono. Many elaborate Horimono were carved into the blades of these first two generations of Yasutsugu smith's, but declined markedly in later generations. Many different horimono were seen including Suken, Sank-tsuki-ken, Bonji, Kurikara, Fudomyo, and many others. The majority if not all were carved by the famous "Kinai" 記内 school, which had also been established in Echizen Province.

Many works were made from Nanban Tetsu or Imported Steel, and many swords were inscribed as such in the mei. This foreign steel or nanban tetsu produce an extremely hard and equally beautiful jigane. It is of note that nanban tetsu blades may or may not have been made entirely from foreign steel, but may have had varying amounts added to the traditional Tamehagane.

Shodai Yasutsugu passed away in 1621.

SHODAI YASUTSUGU'S BLADE CHARACTERISTICS:

Sugata:
Shodai Yasutsugu made katana, wakizashi, and tanto. Most katana and wakizashi were done in either Shinogi-zukuri or Kirha-zukuri, though many wakizashi and most tanto were done in Hira-zukuri. His works generally exhibited exaggerated measurements such as a wide mihaba with little or no taper towards the kissaki, extended nagasa, chu sori, extended kissaki and an extended boshi typical of the Keicho-Shinto or beginning Shinto style.

Jitetsu:
He is known for forging a fine, tight Itame hada mixed with some Mokume hada. The shinogi ji typically exhibits Masame. with the presence of masame (straight grain) above the shinogi. Kitae contains ji-nie and exhibits areas of dark blue tint contained throughout the steel. These works also tend to exhibit Shirake or white patches in the surface of the steel . These areas are a characteristic of the  school and is sometimes referred to as Echizen-gane.
 

Hamon:
Yasutsugu made various hamon styles. Known styles were gentle notare with ashi, while others exhibited abundant nie in the habuchi with sunagashi, kinsuji, ara nie and tobiyaki as well as many others.

Horimono:
Regularly seen were Suken, Sank-tsuki-ken, Bonji, Kurikara, Fudomyo. Occasionally  engravings of plum branches and bamboo. While some were thought to have been done by his own hand, the majority were carved by the famous "Kinai" 記内 school, which had also been established in Echizen Province. All were outstanding.

Boshi:
Yasutsugu's boshi exhibits a modest undulation with a slightly pointed tip, hakikake and long kaeri. The kaeri characteristically extends below the yokote.

Nakago:
Kaku-mune with slender saki. The jiri are mostly kengyo or iriyamagata and occassionally kurijiri. The yasurime are katte-sagari and ko-sujikai.

SHODAI YASUTSUGU'S KNOWN MEI:

MOTTE NANBAN TETSU OITE BUSHU EDO ECHIZEN YASUTSUGU (most prevalent)

ECHIZEN NO KUNI JU YASUTSUGU

OITE BUSHU EDO ECHIZEN YASUTSUGU

HIGO NI DAIJO FUJIWARA ECHIZEN YASUTSUGU

ECHIZEN NO KUNI SHIMOSAKA

HIGO NO DAIJO FUJIWARA SHIMOSAKA
 

____________________________________________

NIDAI YASUTSUGU

c. 1624

Nidai Yasutsugu, who was known as Shimosaka Ichinojo was the chakushi of the shodai Yasutsugu.  Nidai Yasutsugu's works were the only other generation's works whose skill compared to, and or competed with the Shodai's. It is speculated that some of the Shodai's works include some which were actually made by the Nidai. Nidai Yasutsugu was known two have made two different styles of blades. Blades in the Keicho era style reminiscent of the Shodai, and blades with more ordinary dimensions typical of the style seen in the Kanbun era. Most all of the Nidai's works contain the Aoi Mon, as did successive generations.

The mei of each succesive generation of Yasutsugu was unique, and is an important Kantei point. Most generational mei were different enough to distinguish at a glance, however the Second and Fourth Generation Yasutsugu's were similar. Similar, yet easily discernable when the differences are known. The "Tsugu" character provides the details needed to make this determination. In the charts provided below are the mei for all generations of Yasutsugu smith's. The chart is read top to bottom and left to right. The detailed area of the chart specifies first through fourth generation Yasutsugu. The circled areas highlight the stroke differences between the second and Fourth Generation Yasutsugu. A close-up photograph is provided for additional  reference.

Nidai Yasutsugu's works were rated Ryowazamono for superior sharpness in the book, Kokin Kaji Bikosen by, Yamada Asaumon Yoshichika.

Nidai Yasutsugu also was known for working with Nanban Tetsu or Imported Foreign Steel.

Again as did the Shodai's, Nidai Yasutsugu 's works exhibit many beautiful Horimono. The continued collaboration between the Yasutsugu and the Kinai Schools was evident throughout his career. Horimono were much more rare in Katana than in Wakizashi or Tanto. After the Nidai the number horimono seen declined dramatically.

It is said that during his younger days that he was a member of the Yakuza Gang Dairoppo, or Japanese Mafia.  However later in life, perhaps as a penance, he entered the Priesthood and took the name Koetsu-Nymon. There are a few extant pieces with "Nyumon" inscribed in the mei.

Nidai Yasutsugu passed away in 1646.

The death of the Nidai Yasutugu inadvertently caused a split of the school. This split resulted in the formation of two seperate Branches, the Echizen and Edo Yasutsugu Schools. When the Nidai died, his only legitimate heir, his son Umenosuke was a mere child. As a result, the third son of the Shodai and brother of the Nidai, named Shirouemon made a bid for the heir ship. Through peaceful negotiation it was decided that there would be two third generation Yasutsugu successors. Umenosuke, son of the Nidai was to become the successor located permanently in Edo, while Shirouemon would become the third generation located in Echizen. Shirouemon was then known as Echizen Sandai and is classified seperately.

NIDAI YASUTSUGU'S BLADE CHARACTERISTICS:

Sugata:
Nidai Yasutsugu worked in the same style as the Shodai as well as his own. The shape of his swords were typically either shinogi-zukuri, hira-zukuri, and kiriba-zukuri. He worked in the Keicho shinto style, as did the Shodai, but also produced blades with more ordinary dimensions typical of the style seen in the Kanbun era. This was simply a sign of the changing times and style preferences.

Jitetsu:
Traditional forging of fine, tight Itame hada mixed with some Mokume hada in the Echizen Tradition (see shodai blade characteristics).  He was quite adept and known for the use of Nanban Tetsu in his works as well.

Hamon:
Again similar to the Shodai's.

Horimono:
Again as did the Shodai's, Nidai Yasutsugu 's works exhibit many beautiful Horimono. The continued collaboration between the Yasutsugu and the Kinai Schools was evident throughout his career.

Boshi:
Resembles that of the Shodai. While it is said to lacks the forcefulness of the Shodai's, it gives a sense of neatness.

Nakago:
Kaku-mune. The Jiri  is Kengyo or Kuri shaped. The yasurime are Katte-sagari.

Mei:
The overwhelming majority exhibit the Aoi-mon (Hollyhock Crest). Many reflect the use of Nanban Tetsu, and a few exhibit the "Nyumon" inscribed into the nakago.

NIDAI YASUTSUGU EXAMPLE

_____________________________________________________

EDO SANDAI YASUTSUGU

c. 1661

The Edo Sandai Yasutsugu was the Chakushi of the Nidai. He was originally called Umanosuke and later Ichinojo. He was active in the Kanbun period and his works resemble the first and second generations. He was rated Josaku for skill by Fujishiro and Wazamono for sharpness in the book, Kokin Kaji Bikosen by, Yamada Asaumon Yoshichika.

EDO SANDAI YASUTSUGU'S BLADE CHARACTERISTICS:

Sugata:
Edo Sandai's worked in traditional style resembling the first and second generations as well as a style exhibiting a beefy or stout Sugata, thick Kasane, and deep Sori.

Jitetsu:
Fine Itame mixed with Mokume in the traditional manner (see shodai blade characteristics), although some works show an increase in the Mokume.

Hamon:
There seems to be some discrepancies in the information presented. The Token Bijutsu indicates that only quite types of Hamon were produced. Fujishiro's on the other hand states this Sandai was known to produce exuberant Hamon's on some works.

Horimono:
Horimono are rare.

Boshi (Point):
 The Boshi varies from the first two generations in that is Suguba.

Nakago (Tang):
Same as the first two generations, both Kuri and Kengyo Yasurime are Katte-sagari.

Mei (Signature):
The overwhelming majority exhibit the Aoi-mon (Hollyhock Crest). Some reflect the use of Nanban Tetsu.

____________________________________________________

ECHIZEN SANDAI YASUTSUGU

c. 1661

The Echizen Sandai was the third son of the Shodai and younger brother of the Nidai. He was called Shirouemon and later Ichiuemon. His works resemble the first two generations, and his skill was said to be equal to that of the Edo Sandai.

ECHIZEN SANDAI YASUTSUGU'S BLADE CHARACTERISTICS:

Sugata:
Same as the Edo Sandai's.

Jitetsu:
Same as the Edo Sandai's.

Hamon:
Various Suguba and occasionally shallow Notare. A very few which exhibit Notare-gunome.

Horimono:
Horimono are rare.

Boshi:
Mostly Suguba. On occasion Notare is seen slightly past the Yokote.

Nakago:
Kengyo with Sujikai Yasurime.

Mei:
Aoi-mon were used in this smith's works.

________________________________________________

EDO YONDAI YASUTSUGU

c. 1684

Yondai Edo Yasutsugu was the last of the Yasutsugu Sword Smith's to produce any high quality works. While his works paled in comparison to his ancestors however, he was rated Chujosaku for skill by Fujishiro.  His mei is at times confused with the mei of the Nidai or Second generation Yasutsugu. While they do have a similar appearance, it is quite easy to differentiate them. These important Kantei points have been shown in great detail below. 

His works exhibit a style closer to Shodai Tsuguhira (c. 1684), and it has been speculated the he may have actually been the Shodai Tsuguhira.

His style was a Ji of Mokome and Hamon of Suguba or Sugu Ko-Midareba.

NOTE: There were no significant sword smith's in the Echizen Yasutsugu group following the Yondai.

______________________________________________

EDO GODAI YASUTSUGU

C.1700

_______________________________________________

EDO ROKUDAI YASUTSUGU

C.1736

He was originally called Motosugu, and later Ichinoji. He was know to inscribe the Aoi Mon.

_______________________________________________

EDO SHICHIDAI YASUTSUGU

c. 1746

_______________________________________________

EDO HACHIDAI YASUTSUGU

c. 1781

He also was known as Motosugu and later as Ichinoji. There was a Daisho made as a Gassaku with his Chakushi in 1805.

_______________________________________________

EDO KYUDAI YASUTSUGU

c. 1804

_______________________________________________

EDO JUDAI YASUTSUGU

c. 1818

_______________________________________________

EDO JUICHIDAI YASUTSUGU

c. 1854

The Juichidai or eleventh generation was the last of the Yasutsugu linage. His style of forging was Suguba with Gonome Choji nado. He was known to have made a large number of works, which was due to the turbulent times associated with the end of the Tokagawa Regime.

The death of this smith ended a linage of sword smith's that spanned over 250 years.

Written by Ed Marshall.

_______________________________________________

Bibliography:

Nihonto Shinto Jiten, by Yoshio and Matsuo Fujishiro (translated by Harry Watson)

Nihon-To Koza, Shinto Kantei. (translated by Harry Watson)

Token Bijutsu, Essay #18, by Tanobe Michihiro (translated, compiled and printed by Fred Fimio)

The Connoisseur's Book of Japanese Swords, by Kokan Nagayama (translated by Kenji Mishina)

Shinto Taikan, by IImura Yoshifume.

Chart is read top to bottom, left to right.

1st Column: Shodai, Nidai, Edo Sandai, Edo Yondai, Edo Godai.

2nd Column: Edo Rokudai, Edo Shichidai, Edo Hachidai.

3rd Column: Echizen Sandai, EchizenYondai, Echizen Godai, Echizen Rokudai, Echizen Kyudai.

Nidai

Nidai

Nidai