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Announcements in Albert Yamanaka’s Nihonto newsletter, published 1968 – 1972, of
Sasano’s published works of that period offer insight and
would foreshadow the influence of the Sasano's scholarship on
tsuba study. Yamanaka’s description
of the book Sukashi Tsuba (Kokubo et al,
1968) notes the authors’ collections and knowledge of the
field as well known in Japan.
In 1971 the Yamanaka’s newsletter's description of Sasano’s
Bushido-no-Bi (1972) specifically notes that “most
Tsuba people [regard Sasano] as an expert on Sukashi Tsuba”,
and continues that “he is especially well learned in Akasaka
and Owari”. Sasano’s 1970 publication would later be
reworked and reformatted as the English-language text, Early Japanese Sword Guards – Sukashi Tsuba
by Sasano (1972). In the frontispiece of that text, Sasano defines
iron sukashi tsuba as “the kind of beauty required by the
samurai” and that his book “underscores the aesthetics of work
in iron and offers…examples of brilliant
design”.
Sasano’s
scholarship was not without controversy. Nowhere is this
more evident than in the bibliography for The Japanese
Sword (1983), wherein Sato Kanzan wrote: “Few will be
able to appreciate [Sasano’s] rather vague criteria for
categorizing the guards,” referring to Early Japanese Sword
Guards. In case Sato’s sentiment is missed,
commentary on Sasano’s Tosogu no Kigen by Sasano (1976)
noted that it was “Controversial work with an ax to grind.
It would be easy to assert that Sasano’s influence in the west
was as result of multiple English-language publications.
However, recognizing Sasano as likely the most influential
Japanese tosogu scholar in the west must also
acknowledge the importance of his emphasis on the aesthetic
consideration necessitated in studing sword fittings.
Sasano’s scholarship was bold, but it was not unfounded.
Assertions in Tosogu no Kigen call on empirical
evidence and today enjoys many
supporters.
Other
publications follow Tosogu no Kigen before Sasano’s
final publication, Japanese Sword Guards: Masterpieces
from the Sasano Collection, Part One by Sasano (1994), published
after his death. Sasano’s Shoyu Kai study group
published Kagamishi Tsuba by Sasano (1980), Tosogu no Kansho by Sasano (1982), Higo Irogane Tsuba by Sono Heiji (1984), Tsuba To Koshirae by Hiroi Yuichi (1987), and in 1986
began a journal called Tosogu Yuhin Zufu.
Publication was limited to two journals issued annually to
members, each issue focused on different aspects of
tosogu study and featured detailed photography of
exemplary works. Many of the examples coming from
private collections were otherwise unpublished. The
journal ceased shortly after Sasano’s passing and its
limited-run issues are prized by advanced tosogu
students.
Sasano was
also credited for directing the development of the Phyllis
Sharpe Memorial Collection of Tsuba. At his
recommendation the collection was reduced in accord with
Sharpe Memorial’s intent to include only the finest
examples. The collection later went to auction in 1997
(London: Sotheby’s). It is also noted (Harding, 1993)
that Sasano has been called on to consult for major auction
houses as early as
1967.
As noted in the
second paragraph above, Sasano reworked and reformatted his
earlier work and this was no less true of his last
publication. Japanese Sword Guards: Masterpieces from
the Sasano Collection, Part One was published in
1994. A Japanese-language text was published the
preceding year, and there would be no part two. Sasano
prefaced his final text with a reflection on his earlier
texts. There was no mention by Sasano of Tosogu no
Kigen; there was no need as the weight of evidence spoke
for the humble Sensei. Rather, Sasano spoke in
terms of his embarrassment at his growth since his early 1970s
publications on iron sukashi tsuba, and this accounts
for much of the overlap with his previous study. In the
end we are reminded that true scholarship is a lifelong
endeavor as Sasano ably demonstrated.
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