Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
NihontoWatchNihontoWatchThis blade was signed by Kashu Ju Kanewaka (賀州住兼若). Kashu is another name of Kaga province (today’s Ishikawa prefecture), and Kashu Ju means that he resided in this area when he forged this blade. The maker’s name, Kanewaka, is one of the most prestigious swordsmiths in this province and lasted several generations during the early-late Edo period (approx. 280-400 years ago). According to its NBTHK appraisal, it was created by Matasuke Kanewaka, also known as the second-gen Kanewaka, who was active during the early Edo period (the mid 17th century). The first-gen Kanewaka was originally from Mino province (today’s Gifu prefecture). Later on, he moved to the Kaga domain (today’s Ishikawa prefecture) at the beginning of the Edo period after being summoned by Maeda Toshitsune, the third-gen head of the Kaga domain. Then, he changed his name to Takahira (高平) and he received an honorable official title, Etchu no Kami for his excellent sword-forging techniques from the imperial court around the 5th year of the Genna era (1619). That means this blade was created three years after he received the title. The second-gen Kanewaka was born as the third son of Takahira, the first-gen Kanewaka, in the 15th year of the Keicho era (1610). He also became a renowned swordsmith as his father, and his works are said to be spectacular and most popular. It is said that Kanewaka forged swords for those who belonged to the Kaga domain under the Maeda clan’s control. All the swordsmiths who signed Kanewaka in the Kaga domain were under the auspice of the Maeda clan from generation to generation because of their highly skilled craftsmanship. Maeda Clan Maeda clan was originally a retainer of Oda family, who ruled Owari province (today’s Nagoya area in Aichi prefecture). The first head of the Maeda clan was Toshie Maeda. He climbed the social ladder of Samurai society, and he became the feudal lord of Kaga province (today’s Ishikawa prefecture). It is said that he had a vast rice fief that fed 100 million grown-up adults, which is called Hyakuman Goku. The Maeda clan was one of the most powerful lines in Samurai history. Toshie Maeda had a close tie with Oda Nobunaga and Hideyoshi Toyotomi. It is said that the first-gen Kanewaka forged blades for Maeda Toshiie when Kanewaka was still in Mino province (today’s Gifu prefecture). This blade 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). *Please keep in mind that there are a couple of Kitae Kizu and chip on the tip on this blade. Tsuka The motif of this Menuki is the Karajishi (唐獅子). The Shishi (獅子) means a lion in Japanese, and the Karajishi is a lion brought from the continent to Japan in the Toh period (唐, Tang dynasty, 618-907). The same as the Fuchi Kashira, this Menuki is also colored with shiny golden paint. It makes this work look gorgeous and enhances the elegant impression of the entire handle part. The Karajishi typically has curly hair for its head, neck, body, and tail, as seen on this work. In Buddhism, the Karajishi is regarded as a symbol of wisdom, and Monju Bosatu (文殊菩薩, Manjushri Bodhisattva) rides lions. According to a theory, the Karajishi is the origin of Komainu (狛犬, stone guardian dogs that exorcize evil spirits). It shows this animal motif has been familiar to Japanese people since ancient times. Dragons and Karajishis, this handle part is decorated with such auspicious beast motifs. Saya The surface of these Saya is decorated with the Ishime-Ji (石目地). Its base was hit by Tagane (鏨, chisel for metalworking), and it makes a rough surface that seems stone. Authentication Paper They authenticated the blade on May 31st in the 6th year of Reiwa (2024). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society. Registration Number The Board of Education in Hyogo prefecture issued a registration paper for this Katana and Wakizashi blades.
Offered by Samurai Museum
This piece has sold
Get an email when a new Kashu Kanewaka piece hits the market.
Shinto · Kaga · around 1624-1644
Fujishiro Jo saku · Tōken Taikan top 37%
2 pieces on the market now
Kanewaka of Kashu was originally from Mino Province and later relocated to Kaga, establishing what would become one of the most distinguished shinto lineages of the Hokuriku region. The first generation, known as Tsujimura Jinroku, began forging swords in Kaga with dated works commencing from Keicho 9 (1604); around Genna 5 (1619) he received the court title Etchu no Kami and changed his name to Takahira. The second generation, called Matasuke, was the third son of the founder, born in Keicho 17 (1612) and active from Kan'ei through Enpo, dying in Enpo 5 (1677) at the age of sixty-six. The third generation, Shiroemon, was the legitimate heir of Matasuke and carried on the family tradition from the Kanbun era through Shotoku, a span of roughly fifty years. It is said that early in his career the third generation frequently produced works made in his father's stead and also executed pieces bearing his father's name as dai-saku and dai-mei. A fourth generation, Tsujiura Shiroemon, inherited the name after his father's death, and his works have been recognized even among the imperial collection.
The Kanewaka lineage retained a strong Mino flavor deriving from its place of origin. The first generation's workmanship characteristically shows a midare tendency mixed with gunome and pointed togariba, with nie adhering well; tobiyaki appear, and the nioiguchi is bright. His forging displays itame-hada with a tendency toward flowing grain, the hada standing out with chikei and abundant ji-nie, imparting an antique impression noted by examiners as characteristic of the northern provinces' workmanship. From the second generation onward, a clearly defined hako-ba became the family's most recognized hallmark: the valleys of the midare assume angular, boxed contours in a manner the setsumei consistently describe as hako-gakatta. The second generation's gunome-midare with ko-notare, angular notare, and deep nioi clearly exhibits the traits of Kaga work, while sunagashi sweeps conspicuously through the temper and kinsuji appear. In the third generation, the hakoba tends to become more sharply defined, and works in masame forging, while comparatively uncommon, demonstrate the breadth of the school's technical range.
Taken collectively, the Kanewaka school produced swords of a forceful, spirited presence. Each generation was highly skilled, and the setsumei note that the third generation proved worthy of his father and grandfather. Particularly distinctive are their taka-no-ha influences and vigorous hotsure along the edge, with the boshi characteristically finishing in hakikake. The school's works span katana, wakizashi, ken, and tanto, and examples bearing the maker's common name or precise dates are valued as documentary material. Among early shinto smiths of Kaga, the Kanewaka line stands as a defining presence, and its finest works are praised as possessing both dignified taihai and bold vigor.
Where Kanewaka stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Years he was demonstrably active, proven by signed-and-dated blades
Shinto · Kaga
4 pieces on the market now
Among the shintō workshops of the northern provinces, the Kanewaka line of Kaga (Kashū) traces its root to Mino. The setsumei record that the first-generation smith was a son of Shihōsuke Kanewaka of Seki and that, though he stood in the lineage of the Seki smiths, he forged his blades in Kaga. " The second generation, Matasuke, was the third son of the first, born in Keichō 17 (1612), active from Kan'ei through Enpō, and dead in Enpō 5 (1677) at sixty-six. The third, his legitimate heir, took the name Shirōemon and worked from Kanbun through Shōtoku, with dated pieces from Enpō 5 to Hōei 4 (1677 to 1707); a fourth, the Tsujiura Shirōemon of the same name, assisted his father as a substitute smith and inherited the name after Matasuke's death. The cutting-test katana signed Tsujimura Etchū no Kami Fujiwara Takahira[[c:2]] ties the workshop to the Maeda domain's swords, its blade tested five times and the result inlaid in kinzōgan. The shared hand is grounded in Mino forging carried north. The jigane across these blades is itame mixed with masame and mokume, often with standing grain (hada-dachi), abundant ji-nie, fine chikei, and a steel of slightly blackish yet clear tone, a cast the setsumei call a trait of the northern provinces (Hokukoku-mono). The temper is built on ko-notare mixed with gunome and pointed togariba, frequently assuming a boxed (hako-ba) character, with deep nioi, well-adhering nie, conspicuous sunagashi, kinsuji, and at times tobiyaki; the bōshi runs sugu with ko-maru or enters midare-komi, often with hakikake and a yakitsume-leaning point, a Yamato-tradition close noted on the masame-forged third-generation work.
To read the hand, the setsumei point to Mino Shizu and Naoe Shizu affinity, the wanare-based mixture of gunome and togari, and the box-shaped temper. Generations are told apart by that box: in the first generation it tends toward nie-kuzure, flavorful and not sharply drawn, and a defined hako-ba is comparatively uncommon; from the second and third it grows more crisply outlined. The third generation also worked saka-chōji-midare (reverse chōji), and in such pieces the fourth produced utsuri effects that could be taken for the Ishidō school. The kantei points the setsumei fix upon are the standing, blackish itame-masame ground, the boxed notare with sunagashi and kinsuji, and the Shizu-derived midare leaning. " Named works carry the lineage: a Genna 5 ken, whose date proves the title came later; the Kashū Fujiwara Yukimitsu tachi dated Bunmei 17 (1485) marks the older Muromachi Kashū ground from which such northern work descends; and a katana with kenuki-gata tachi koshirae in ashide maki-e shows the dress that accompanied the line. One blade, recorded in Honma's inventory of the Imperial collection, is attributed to the fourth-generation Tsujiura Shirōemon, and record provenance in Kaga and Ishikawa hands. Across the generations the verdict is consistent: each smith was skilled in his own right, the forging at times exceeding ordinary Kashū work, and the dated inscriptions stand as documentary anchors for early Kaga shintō. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kanewaka兼若 | 1596-1619 | 10 |
| Kanewaka兼若 | 1673-1681 | 4 |
| Kanewaka兼若 | 1624-1644 | 2 |
| Takahira高平 | 1673-1681 | 1 |
| Yukimitsu行光 | 1469-1487 | 1 |
The Edo period (1615 to 1868)
Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
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.