Perry’s arrival in 1853 unraveled the Tokugawa peace and created the first mass demand for working swords in two centuries. Kiyomaro, called the Masamune of Yotsuya, died on its eve; Munetsugu and Yukihide carried the boom to the end.
NihontoWatchNihontoWatchThis blade was signed by Gassan Sadayoshi (月山貞吉) in October of 1827 (the 10th year of the Bunsei era). His real name was Gassan Yahachirō (月山弥八郎), and he was born in Dewa Province (today’s Yamagata Prefecture) in 1781. According to the NBTHK (Society for the Preservation of Japanese Art Swords), the inscription indicates that this blade was made upon request from Orii Masatsugu while Sadayoshi was still living in his birthplace of Dewa. The name “Gassan” refers to the swordsmith school to which he belonged. The Gassan school originated in the late Heian period (12th century), and its name is said to have come from Mt. Gassan, a sacred mountain in Dewa Province, where the school’s early smiths forged their swords. In his youth, Sadayoshi learned the art of sword-forging from his father, Okuyama Yasaburō Sadachika (奥山弥三郎貞近), who was believed to be a descendant of the Ōshū Gassan school, one of the oldest Gassan lineages. Around the age of twenty, Sadayoshi moved to Edo (present-day Tokyo) and became an apprentice to the renowned master Suishinshi Masahide (水心子正秀), one of the most celebrated swordsmiths of the late Edo period and the key figure in the Shinshintō (“New New Sword”) revival movement. After about ten years of training, Sadayoshi mastered advanced techniques and, in 1833 (Tenpō 4), relocated to Osaka. There he founded the Osaka Gassan school, further refining his craft and training many talented apprentices, several of whom went on to become leading swordsmiths of the Bakumatsu era (the end of the Edo period). Although the Gassan school had been one of Japan’s most prestigious traditions since the Kamakura period, its influence had declined by the mid-Edo period. Through Sadayoshi’s tireless efforts and accomplishments, however, the school was revived and regained its former prominence toward the end of the Edo period. Sadayoshi adopted a son from the Tsukamoto family and named him Sadamitsu (Gassan Sadakazu, 月山貞一), who later became one of Japan’s most famous swordsmiths of the Meiji era. Father and son devoted many years to researching the traditional Gassan forging techniques and eventually succeeded in recreating the Ayasugihada pattern—an undulating grain on the steel surface resembling the grain of Japanese cedar, which became the signature texture of the Gassan school. In addition to Ayasugihada, Sadayoshi also forged blades in various other traditional styles. Gassan Sadayoshi passed away in 1870 (the 3rd year of the Meiji era) at the age of 71. His adopted son Gassan Sadakazu inherited the tradition, which was then passed down to Gassan Sadakatsu, and the lineage continues to this day. The current head of the family, Gassan Kazutoshi, and his son Gassan Sadanobu, still carry on the centuries-old Gassan tradition, forging authentic Japanese swords in Nara Prefecture today. Horimono (Engraving) This blade features beautiful carvings (Horimono) on both sides. On one side, the inscription “Namu Myōhō Renge Kyō” (“Devotion to the Lotus Sutra”) is accompanied by a Rendai (蓮台) design—a lotus pedestal motif often seen as the base of Buddhist statues. The lotus flower symbolizes purity emerging from the mud, a key concept in Buddhist teachings. In sword ornamentation, the upper carving represents the lotus blossom, while the lower portion is the pedestal (Rendai). These motifs are frequently combined with esoteric Buddhist symbols such as Bonji (Sanskrit characters) or Suken (ritual swords), expressing both faith and protection. On the other side, a Bonji character and an image of Fudō Myō-ō (不動明王, Acala) holding a Kurikara-ken (倶利伽羅剣, Kurikara sword) are carved into the blade. Bonji are Sanskrit seed syllables that represent Buddhist deities and serve as sacred symbols for invoking divine protection. Among them, the character “Kān” (カーン) symbolizes Fudō Myō-ō, one of the most revered guardian deities among samurai warriors. Another Sanskrit character, “Kanmān” (カンマーン), combines with “Man” to form a sacred mantra. During the age of the samurai, warriors often incorporated such religious motifs into their armor, helmets, and swords as expressions of faith and spiritual strength in battle. The Kurikara-ken (Sword entwined by a dragon) is the sword held by Fudō Myō-ō in his right hand. A flaming dragon known as Kurikara Ryū-ō (倶利伽羅竜王) coils around the blade, symbolizing the “Sword of Wisdom” that cuts through ignorance, evil, and worldly desires. In esoteric Buddhism, this sacred sword is believed to possess the power to purify the spirit and ward off evil forces. Tachi Koshirae This blade is stored in Tachi(太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. It 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). Koshirae This type of Koshirae is called a Tachi-koshirae (太刀拵え), designed to be worn hanging at the waist. It is not intended for practical combat; instead, its purpose was to signify the authority and dignity of the Samurai who carried it, or the powerful figures they served. As a result, it is characterized by the luxurious decorations and colors. Fuchi-Kashira The Fuchi and Kashira are decorated with the same design. It is a pattern of curved and intertwined vines. This design is called the Karakusa (唐草, arabesque) pattern. Other sword mountings and metal fittings of this Koshirae have the same design, such as the Tsuba, Ishiduki Kanamono (石突金物, a fitting attached to protect the distal end of the scabbard), etcetera. The Karakusa pattern 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. Vine is called Tsuru (蔓) in Japanese and has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means ten 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, meaning 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 The motif of this Menuki is the dragon. Initially, the dragon is an imaginary creature found in ancient Chinese traditions or myths. Furthermore, it is regarded as a symbolic beast of auspicious signs. Its body is likened to nine animals: antlers are deer, the head is a camel, eyes are demons, the neck is a snake, belly is Mizuchi (蛟, mythical animal in Japan which looks like a snake and have a horn and four legs), scales are fish, claws are falcons, palms are tigers, and ears are cows. It was thought that the dragon would reign at the top of all animals because of its odd-looking appearance. In ancient China, the dragon pattern was used for emperors’ clothing so that people strictly defined its shape or even the number of nails. On the other hand, the dragon pattern does not have detailed rules to represent classes in Japan. However, still, it maintains its meaning as the all-purpose auspicious pattern. Also, in Japan, there is a belief that worships dragon as a water god and is called Ryujin Shinkou (竜神信仰). Since rice cultivation flourished in this country, water is always an essential resource. Therefore, the dragon motif has been familiar to Japanese people since a long time ago. Tsuba and Habaki This Tsuba is crafted in the shape of a mokko (木瓜, “four-lobed”) form, which is derived from the stylized outline of a chrysanthemum flower (菊, kiku). Within each of the lobed sections, the openings are shaped like inome (猪目) — heart-shaped designs that have been used in Japanese art and architecture since ancient times. The inome motif, literally meaning “boar’s eye,” was traditionally believed to ward off evil spirits and invite good fortune, while also adding a graceful decorative touch. Saya The surface of this Saya is decorated with raden(螺鈿), a traditional Japanese decorative technique. Raden involves inlaying or embedding thin pieces of shell, such as mother-of-pearl or abalone, into lacquer or other materials. The shimmering, iridescent quality of the shells creates a striking visual effect, reflecting light in a play of colors that range from soft pastels to vivid hues. This technique has been used in Japan for centuries, adorning everything from furniture to accessories and weapons, showcasing the skill and artistry of the craftsman. Authentication Paper They authenticated the blade on December 4th in the 6th year of Reiwa (2024). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Shinshinto · Settsu · around 1830-1863
Fujishiro Jo saku · Tōken Taikan top 49%
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Shinshinto · Settsu
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| Smith | Era | Designated |
|---|---|---|
| Sadaharu貞晴 | 1865-1868 | 0 |
| Sadayoshi貞吉 | 1926-1989 | 0 |
| Yoshiaki吉明 | 1844-1848 | 0 |
| Naonobu直信 | 1854-1860 | 0 |
| Sadayoshi貞吉 | 1830-1863 | 0 |
Bakumatsu: the last war market
Perry’s arrival in 1853 unraveled the Tokugawa peace and created the first mass demand for working swords in two centuries. Kiyomaro, called the Masamune of Yotsuya, died on its eve; Munetsugu and Yukihide carried the boom to the end.
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.