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Shinto Terukane照包

Sakakura Gon'noshin Terukane was the second-generation Echigo no Kami Kanesada. He studied under the first-generation Echigo no Kami Kanesada, succeeded to his position, and at first signed under that name. However, when the first generation's biological son Iwamatsu came of age, he yielded the Kanesada name and thereafter signed "Sakakura Gon'noshin Terukane." The change is documented by an extant work inscribed "Sakakura Gon'noshin Terukane; Echigo no Kami Kanesada, retired" with a reverse date of "an auspicious day in the second month of Enpō 8" (1680). Among the Osaka *shintō* smiths, the setsumei consistently place him as possessing "excellent technical ability," with workmanship that is "notably free of unevenness or coarseness." His technical skill "has long been regarded as ranking immediately after Sukehiro and Shinkai." Terukane's dominant mode is the *tōran-midare* -- the billowing-wave temper modeled after Tsuda Sukehiro -- yet the NBTHK descriptions identify several features that distinguish his interpretation from its prototype. The large *ō-gunome-midare* characteristically incorporates *yahazu*-like (arrow-nock) forms and a distinctive hamon shape referred to as *katayama-midare*, unique to this smith. A habitual mannerism appears below the *yokote*, where "about three *gunome* appear in succession." The forging is invariably a tightly packed *ko-itame-hada* with extremely fine *ji-nie* adhering thickly and fine *chikei* entering well. Whatever the chosen pattern -- and more rarely he produced works in large *notare*, *suguha*, or even a rosary-bead-like (*juzu-ba*) temper recalling Nagasone Kotetsu -- "it is typical that the *nioi* is deep, the *nie* adheres well, and the *nioiguchi* is bright." His construction also bears distinctive marks: a steeply formed *iori-mune* (*mune-oroshi*), comparatively little *hiraniku*, and a high *shinogi* -- features that the NBTHK repeatedly notes as "points of interest" particular to Terukane. The *hamon* begins consistently with a *suguha* *yakidashi*, after which thick, long *ashi* enter well; *sunagashi* runs broadly throughout the temper; and *kinsuji* and *nie-suji* appear with a frequency that one setsumei notes exceeds "his usual works." In his most accomplished pieces, rounded bead-like *tobiyaki* "resembling spray" (*shibuki*) are tempered within the *tōran*-like pattern, harmonizing with the wave-like rhythm to striking aesthetic effect. Across nearly twenty Juyo designations spanning three decades, the evaluative consensus is emphatic: Terukane was a master of the Osaka *shintō* tradition whose output was "consistently high in quality, without marked unevenness." His range extended from the bold *tōran-midare* that constituted his greatest forte to rarities modeled on Go Yoshihiro and the *Sōshū-den*, each "finished with consummate skill." The deep *nioi*, thickly adhering *ko-nie*, the conspicuous activities of *kinsuji* and *sunagashi*, and above all the brightness and clarity of the *nioiguchi* are cited in every assessment as the hallmarks by which his work may be identified, securing his place as "a solid mainstay within the Osaka *shintō* tradition" and the foremost heir of the Kanesada line.

葵美術

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