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Sa Yasuyoshi安吉

Yasuyoshi, the son of O-Sa, succeeded as the second generation of the Sa lineage and is traditionally said to have moved from Chikuzen to Choshu (Nagato Province). This account is supported by an extant tanto dated Shohei 17 (1362) bearing the inscription "Choshu-ju Yasuyoshi," whose manner of signing matches his usual style. Subsequent works explicitly stating "Choshu Yasuyoshi" include examples dated to the Eiwa and Oei eras. The Oei-dated pieces are judged to be by a successor generation on the basis of workmanship and signature style, while whether the Eiwa-dated works represent late production by the first generation or early work by a successor remains a subject for future research. Descendants and students continued the Yasuyoshi name for several generations from the late Nanbokucho through the early Muromachi period, collectively known as "Choshu Sa." In the forge, Yasuyoshi's work typically displays *itame-hada* mixed with *mokume* and *nagare-hada*, with the grain sometimes standing and *ji-nie* adhering. A whitish *shirake-utsuri* is a hallmark of the school, and tightly forged pieces show extremely fine *ji-nie* with delicate *chikei* and clear steel. The *hamon* most characteristically takes the form of shallow *ko-notare* mixed with *gunome*, with *ashi* entering and a *nioiguchi* that is bright and clear. The temper is primarily *nioi*-dominant with *ko-nie*, accompanied by fine *kinsuji* and *sunagashi*. The *boshi* typically enters in *midare-komi* with a pointed tendency and a long *kaeri*. Compared with O-Sa, the setsumei consistently note that Yasuyoshi's work does not exhibit the same degree of brilliance in both *jigane* and temper, though certain pieces with strong *nie* and *kuichigai-ba* demonstrate a broader range within his oeuvre. Yasuyoshi's blades are generally of larger and more imposing *sugata* than those of his father, with wide *mihaba* and thin *kasane*. Among his finer works, the forging is well-refined and compact, with the Sa school's characteristic features clearly retained. Pieces of distinguished provenance, including examples transmitted in the Inshu Ikeda and Maeda collections, attest to the esteem in which his work has long been held.

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