$7,179

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About the maker

Sukesada祐定

Sukesada represents the most prosperous smithing lineage among the Osafune swordsmiths of the late Muromachi period, collectively termed Sue-Bizen. According to the *Hayami Den*, as many as twenty-one smiths are recorded as having appended a *zokumyo* (common name) to their signatures while working under the Sukesada name. Within this large group, those who particularly distinguished themselves in technical ability are the smiths bearing the titles Yosazaemon no Jo, Hikobei no Jo, and Genbei no Jo. Yosazaemon no Jo Sukesada stands foremost among them, being especially rich in the number of superior works. Two generations bear the same signature; from an extant tanto signed "Tenbun 6, made at the age of seventy-one," one can calculate retrospectively that the first generation was born in Onin 1 (1467). Hikobei no Jo Sukesada is traditionally said to have been the father of Yosazaemon no Jo. Genbei no Jo Sukesada enjoys a strong reputation for the excellence of his forging and is further characterized by particular strength in *suguha*-toned temper patterns. A later generation, Shichibee Sukesada, is recorded as the fifth generation descended from Yosazaemon no Jo of the Eisho era, faithfully continuing the style of his forebears. The Sukesada line also produced notable joint works (*gassaku*), as in the celebrated naginata made collaboratively with Jirozaemon no Jo Katsumitsu for the Bizen warlord Ukita Yoshie. The working range of the Sukesada smiths is broad, encompassing *koshi-biraki gunome* (gunome with an opened waist), *suguha*, and *hitatsura*, and in each mode a high level of skill is evident. The forging is characteristically a dense *ko-itame-hada*, tightly compacted and well refined, with extremely fine *ji-nie* adhering thickly, fine *chikei*, and a faint *midare-utsuri* standing out. Their signature temper centers on *koshi-biraki gunome* mixed with *choji*, *ko-gunome*, and *togariba*; in places it takes on a compound, double-layered (*fukushiki*) character, producing the distinctive formation known as *kani no tsume* (crab's claws). The *hamon* is *nioi*-dominant with well-adhering *ko-nie*, accompanied by *kinsuji* and *sunagashi*, while vigorous *tobiyaki* frequently appear, at times developing into a *hitatsura*-like manner. The *nioiguchi* is consistently bright and clear. Their blades display the typical *uchigatana* form of the late Muromachi period, with somewhat compact proportions, thick *kasane*, pronounced *sakizori*, and an extended *chu-kissaki*, conveying an impression of robust and powerful bearing. Production extends across katana, wakizashi, tanto in *hira-zukuri* and *moroha-zukuri*, and naginata of bold and magnificent form. The Sukesada line constitutes the most representative body of swordsmiths within the Sue-Bizen tradition, and their works were transmitted in the collections of prominent warrior houses including the Sendai Date, the Mori, the Ikeda of Bizen, the Ii of Hikone, and the Shonai Sakai families. Works by the leading Sukesada smiths are distinguished by an abundance of points worthy of appreciation: the forging achieves an excellent-quality (*seiryo*) texture that is generally tightly compacted, and both *ji* and *ha* are bright and vividly clear, showing workmanship of exceptional distinction. Their versatility is particularly noteworthy, ranging from the calm composure of broad *suguha* with a tightened *nioiguchi* to the flamboyant vigor of large-patterned *midare* rich in variation and internal activity. Whether in the restrained power of a *suguha*-based work or the spirited expansiveness of a *hitatsura*-inflected piece, the Sukesada smiths consistently demonstrate that both *ji* and *ha* are exceedingly *kenzen* (sound and well-preserved), a testament to the superlative technical accomplishment that places them at the forefront of late Muromachi swordmaking.

Samurai Museum

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