The nidai Echigo no Kami Kanesada signed two katana dated Enpō 4 (1676), and both rose to Tokubetsu Jūyō, the pair the most highly placed works of his hand on record. He is the second generation of the Kanesada line of Ōsaka, working through the Enpō and Tenna years among the leading smiths of the Ōsaka Shintō. The published sources tell a single, consistent biography across his blades. He studied under the shodai Echigo no Kami Kanesada, became his successor and adopted son, and at first signed Echigo no Kami Kanesada himself; but when the shodai's natural son Iwamatsu came of age, he yielded the Kanesada name to the boy and thereafter signed Sakakura Gonnoshin Terukane. A surviving blade inscribed Sakakura Gonnoshin Terukane, with Echigo no Kami Kanesada retired on the reverse and dated the second month of Enpō 8, fixes that change to about 1680. Of the man behind the two names the NBTHK is direct: "the nidai Kanesada was a master who surpassed the shodai"[[c:1]].

His hand is read first in the surging tōran-midare, the billowing-wave temper the published sources call his greatest forte, learned in emulation of Tsuda Echizen no Kami Sukehiro of the same Ōsaka generation. The temper opens at the base from a straight suguha yakidashi and then rises into a large ō-gunome-midare, mixing ko-notare, gunome and yahazu-like teeth, that crests into the wave. Within it the judges single out a hamon they treat as his own: "the katayama-midare, a hamon distinctive to this smith"[[c:2]], the one-sided, leaning wave he carries often with a run of three linked gunome below the yokote. Long ashi enter well, the nioi is deep, the ko-nie thick, fine sunagashi runs throughout and kinsuji appear, the nioiguchi bright and clear, the bōshi sugu to a small ko-maru. Beside this he keeps the aligned gunome of his background, and the recurring fine sunagashi through the temper the sources read as "a feature of the Monju lineage that forms his background"[[c:3]].

The jigane is the constant beneath every manner. It is a tightly packed ko-itame, sometimes mixed with mokume, over which very fine ji-nie lies thickly and fine chikei enter well, the steel bright and clear. On the finest blades a mizukage rises at the machi. The published sources praise this forging as refined and of excellent quality, bright in steel tone, and it is the brightness of both ji and ha together that they repeatedly name as the mark of his work. The construction supports the kantei as much as the activity does: the mune-oroshi drops steeply, the hiraniku is scant, the body broad with a Kanbun-Shintō taper, points of make the judges note as his own.

His range divides into three faces the swordbooks list together. The earliest, carried on the two Enpō 4 Tokubetsu Jūyō, is the aligned ō-gunome with somewhat chōji-like elements, a manner close to the shodai's but already brighter in nioi and firmer in ko-nie, the talent read as surpassing the teacher. The mature and most personal face is the tōran with its katayama lean, judged at its best as bolder, more varied and more dynamic than usual. The third is a quiet suguha, comparatively uncommon on his signed work, which one Jūyō reads as modeled on a high master of the Sōshū tradition, particularly the manner of Gō Yoshihiro, the intention discernible above all in the state of the hardened edge. Dated pieces are few, so the Enpō 4 katana are valued as documentary material for placing the rest.

What sets the nidai apart from the wider Ōsaka school is exactly what the judges name as his own. His bright deep-nioi tōran, with its leaning katayama form and the three linked gunome below the yokote, distinguishes him from the symmetrical wave of his contemporaries, while the steep mune-oroshi and scant hiraniku mark the make. The fine sunagashi threading the temper carries the Monju descent forward into the Ōsaka idiom, and the rarer suguha shows him reaching back to Sōshū. He stands as the second pillar of the Kanesada house, the smith who took his father's manner and, in the judgment of the published record, carried it past him.

For the collector the nidai is a substantial but bounded name. Seventy-six of his blades stand in the Tokubetsu Jūyō and Jūyō tiers, but only the two Enpō 4 katana reach the higher rank, so a top example surfaces seldom and a more typical Jūyō from time to time, with patience. The published sources call one of the dated katana "one of his representative works"[[c:4]] and another, of recorded whereabouts, "an outstanding piece within the second generation Kanesada's oeuvre"[[c:5]]. His blades are held in collections grounded in their own provenance: a wakizashi signed Sakakura Gonnoshin Terukane, carrying his katayama-midare and the three linked gunome, descends through the Yamauchi family of Tosa, and two of his works are recorded in the Imperial collection. A signed nidai Kanesada, bright in ji and ha and bearing his leaning wave, is among the more attainable of the first-rank Ōsaka Shintō names, not beyond reach, but a landmark when a fine dated example does appear.

The nidai Echigo no Kami Kanesada signed two katana dated Enpō 4 (1676), and both rose to Tokubetsu Jūyō, the pair the most highly placed works of his hand on record. He is the second generation of the Kanesada line of Ōsaka, working through the Enpō and Tenna years among the leading smiths of the Ōsaka Shintō. The published sources tell a single, consistent biography across his blades. He studied under the shodai Echigo no Kami Kanesada, became his successor and adopted son, and at first signed Echigo no Kami Kanesada himself; but when the shodai's natural son Iwamatsu came of age, he yielded the Kanesada name to the boy and thereafter signed Sakakura Gonnoshin Terukane. A surviving blade inscribed Sakakura Gonnoshin Terukane, with Echigo no Kami Kanesada retired on the reverse and dated the second month of Enpō 8, fixes that change to about 1680. Of the man behind the two names the NBTHK is direct: "the nidai Kanesada was a master who surpassed the shodai"[[c:1]].

His hand is read first in the surging tōran-midare, the billowing-wave temper the published sources call his greatest forte, learned in emulation of Tsuda Echizen no Kami Sukehiro of the same Ōsaka generation. The temper opens at the base from a straight suguha yakidashi and then rises into a large ō-gunome-midare, mixing ko-notare, gunome and yahazu-like teeth, that crests into the wave. Within it the judges single out a hamon they treat as his own: "the katayama-midare, a hamon distinctive to this smith"[[c:2]], the one-sided, leaning wave he carries often with a run of three linked gunome below the yokote. Long ashi enter well, the nioi is deep, the ko-nie thick, fine sunagashi runs throughout and kinsuji appear, the nioiguchi bright and clear, the bōshi sugu to a small ko-maru. Beside this he keeps the aligned gunome of his background, and the recurring fine sunagashi through the temper the sources read as "a feature of the Monju lineage that forms his background"[[c:3]].

The jigane is the constant beneath every manner. It is a tightly packed ko-itame, sometimes mixed with mokume, over which very fine ji-nie lies thickly and fine chikei enter well, the steel bright and clear. On the finest blades a mizukage rises at the machi. The published sources praise this forging as refined and of excellent quality, bright in steel tone, and it is the brightness of both ji and ha together that they repeatedly name as the mark of his work. The construction supports the kantei as much as the activity does: the mune-oroshi drops steeply, the hiraniku is scant, the body broad with a Kanbun-Shintō taper, points of make the judges note as his own.

His range divides into three faces the swordbooks list together. The earliest, carried on the two Enpō 4 Tokubetsu Jūyō, is the aligned ō-gunome with somewhat chōji-like elements, a manner close to the shodai's but already brighter in nioi and firmer in ko-nie, the talent read as surpassing the teacher. The mature and most personal face is the tōran with its katayama lean, judged at its best as bolder, more varied and more dynamic than usual. The third is a quiet suguha, comparatively uncommon on his signed work, which one Jūyō reads as modeled on a high master of the Sōshū tradition, particularly the manner of Gō Yoshihiro, the intention discernible above all in the state of the hardened edge. Dated pieces are few, so the Enpō 4 katana are valued as documentary material for placing the rest.

What sets the nidai apart from the wider Ōsaka school is exactly what the judges name as his own. His bright deep-nioi tōran, with its leaning katayama form and the three linked gunome below the yokote, distinguishes him from the symmetrical wave of his contemporaries, while the steep mune-oroshi and scant hiraniku mark the make. The fine sunagashi threading the temper carries the Monju descent forward into the Ōsaka idiom, and the rarer suguha shows him reaching back to Sōshū. He stands as the second pillar of the Kanesada house, the smith who took his father's manner and, in the judgment of the published record, carried it past him.

For the collector the nidai is a substantial but bounded name. Seventy-six of his blades stand in the Tokubetsu Jūyō and Jūyō tiers, but only the two Enpō 4 katana reach the higher rank, so a top example surfaces seldom and a more typical Jūyō from time to time, with patience. The published sources call one of the dated katana "one of his representative works"[[c:4]] and another, of recorded whereabouts, "an outstanding piece within the second generation Kanesada's oeuvre"[[c:5]]. His blades are held in collections grounded in their own provenance: a wakizashi signed Sakakura Gonnoshin Terukane, carrying his katayama-midare and the three linked gunome, descends through the Yamauchi family of Tosa, and two of his works are recorded in the Imperial collection. A signed nidai Kanesada, bright in ji and ha and bearing his leaning wave, is among the more attainable of the first-rank Ōsaka Shintō names, not beyond reach, but a landmark when a fine dated example does appear.