Sengoku Seki was an industry: smiths organized under their tutelary Kasuga shrine, arming the war bands of central Japan. Magoroku Kanemoto’s sanbonsugi and the finest Kanesada work prove quality survived inside mass production.
It has arrived, it has arrived—a katana by Kashu Fujiwara Ietsugu, reverently known as "Kaga Aoe," has appeared. This Kashu Ietsugu of Kaga (Ishikawa Prefecture) was a swordsmith of the Fujishima school; because he produced works that closely resembled the celebrated masterpieces of the Bitchu Aoe school, this Kashu Ietsugu has been honored with the title "Kaga Aoe" since ancient times. The nenkio on this sword can be read as "[ ][ ] 3rd year, 2nd month," and it is a katana by the famous Kashu Ietsugu from around the Muromachi period, Daiei 3 (1523) (501 years ago), renowned as a "Wazamono" for its exceptional cutting ability. As for the sugata of this sword, it was originally a 2-shaku 1-sun uchigatana that has been shortened; it retains funbari at the moto, with a wide moto-mihaba and wide saki-mihaba, featuring a slightly large kissaki and a graceful sori. The jigane is itame-hada mixed with masame-hada, displaying chikei in the ji and a faint utsuri, giving it a refined character. The hamon is a nioi-deki style with nie-deki notare-midare mixed with gunome-ba, featuring kinsuji within the ha, resulting in a magnificent and spirited blade. On this occasion, an elderly connoisseur has entrusted us with this piece, saying, "I have grown old, so please pass this on to the next generation at a low price." Therefore, we are offering it at a special bargain price. Please do enjoy this sword by Kashu Ietsugu, honored as "Kaga Aoe" from 500 years ago.
NihontoWatchMuromachi · nagasa 61.6cm · sori 2cm
Mino-den · Kaga · around 1528-1558
Fujishiro Chu-jo saku · Tōken Taikan top 60%
6 pieces on the market now
Where Ietsugu 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.
Mino-den · Kaga
27 pieces on the market now
The Kaga inlay tradition (Kaga zōgan) emerged in Kaga Province during the early Edo period, centered on the castle town of Kanazawa under the patronage of the Maeda clan. This distinctive form of hira-zōgan is said to have developed when craftsmen specializing in stirrup decoration (abumi-shi) adapted their metalworking techniques to tsuba and other sword fittings, flourishing from the early seventeenth century through the Kyōhō era (1716–1736). Working against polished grounds of shakudō, shibuichi, or occasionally refined copper (suaka), these artisans created works characterized by their compositional sophistication and technical precision, establishing a regional aesthetic that would influence later generations of metalworkers. The hallmark of Kaga workmanship lies in its masterful deployment of multiple colored metals—gold, silver, copper, shakudō, and shibuichi—inlaid in flat relief against dark, highly polished grounds. Motifs range from naturalistic subjects such as autumn grasses, butterflies, and mandarin ducks beneath willows to more formal designs including paulownia crests and brocade wrappers, all rendered with meticulous kebori line engraving that adds refinement to the broader inlay work.
The compositions typically extend across the entire surface of the guard, creating an effect of visual richness and decorative abundance. Against jet-black shakudō or the warm tonality of suaka, the multicolored inlays achieve a luminous clarity, producing works of elegant splendor (fūryū) that balance technical virtuosity with restrained taste. The tradition's influence extended beyond its geographic center, with works attributed to Kaga methods appearing in collections throughout Japan. Large-scale presentation pieces demonstrate the school's capacity for ambitious design, while the consistent quality of execution across surviving examples suggests a well-established workshop system with shared technical standards. Though individual makers within the tradition rarely signed their work, the distinctive aesthetic—characterized by full-surface compositions, polished dark grounds, and precise multicolor inlay—remains immediately recognizable, preserving the legacy of Kanazawa's metalworking excellence through the Edo period. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Sanekage真景 | 1362-1368 | 47 |
| Takahira高平 | 1621-1644 | 9 |
| Kagemitsu景光 | 1362-1368 | 3 |
| Ietsugu家次 | 1528-1558 | 1 |
| Kagehira景平 | 1661-1673 | 1 |
Mino in the Muromachi period
Sengoku Seki was an industry: smiths organized under their tutelary Kasuga shrine, arming the war bands of central Japan. Magoroku Kanemoto’s sanbonsugi and the finest Kanesada work prove quality survived inside mass production.
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
For returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥290,000
It has arrived, it has arrived—a katana by Kashu Fujiwara Ietsugu, reverently known as "Kaga Aoe," has appeared. This Kashu Ietsugu of Kaga (Ishikawa Prefecture) was a swordsmith of the Fujishima school; because he produced works that closely resembled the celebrated masterpieces of the Bitchu Aoe school, this Kashu Ietsugu has been honored with the title "Kaga Aoe" since ancient times. The nenkio on this sword can be read as "[ ][ ] 3rd year, 2nd month," and it is a katana by the famous Kashu Ietsugu from around the Muromachi period, Daiei 3 (1523) (501 years ago), renowned as a "Wazamono" for its exceptional cutting ability. As for the sugata of this sword, it was originally a 2-shaku 1-sun uchigatana that has been shortened; it retains funbari at the moto, with a wide moto-mihaba and wide saki-mihaba, featuring a slightly large kissaki and a graceful sori. The jigane is itame-hada mixed with masame-hada, displaying chikei in the ji and a faint utsuri, giving it a refined character. The hamon is a nioi-deki style with nie-deki notare-midare mixed with gunome-ba, featuring kinsuji within the ha, resulting in a magnificent and spirited blade. On this occasion, an elderly connoisseur has entrusted us with this piece, saying, "I have grown old, so please pass this on to the next generation at a low price." Therefore, we are offering it at a special bargain price. Please do enjoy this sword by Kashu Ietsugu, honored as "Kaga Aoe" from 500 years ago.
NihontoWatchMuromachi · nagasa 61.6cm · sori 2cm
Mino-den · Kaga · around 1528-1558
Fujishiro Chu-jo saku · Tōken Taikan top 60%
6 pieces on the market now
Where Ietsugu 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.
Mino-den · Kaga
27 pieces on the market now
The Kaga inlay tradition (Kaga zōgan) emerged in Kaga Province during the early Edo period, centered on the castle town of Kanazawa under the patronage of the Maeda clan. This distinctive form of hira-zōgan is said to have developed when craftsmen specializing in stirrup decoration (abumi-shi) adapted their metalworking techniques to tsuba and other sword fittings, flourishing from the early seventeenth century through the Kyōhō era (1716–1736). Working against polished grounds of shakudō, shibuichi, or occasionally refined copper (suaka), these artisans created works characterized by their compositional sophistication and technical precision, establishing a regional aesthetic that would influence later generations of metalworkers. The hallmark of Kaga workmanship lies in its masterful deployment of multiple colored metals—gold, silver, copper, shakudō, and shibuichi—inlaid in flat relief against dark, highly polished grounds. Motifs range from naturalistic subjects such as autumn grasses, butterflies, and mandarin ducks beneath willows to more formal designs including paulownia crests and brocade wrappers, all rendered with meticulous kebori line engraving that adds refinement to the broader inlay work.
The compositions typically extend across the entire surface of the guard, creating an effect of visual richness and decorative abundance. Against jet-black shakudō or the warm tonality of suaka, the multicolored inlays achieve a luminous clarity, producing works of elegant splendor (fūryū) that balance technical virtuosity with restrained taste. The tradition's influence extended beyond its geographic center, with works attributed to Kaga methods appearing in collections throughout Japan. Large-scale presentation pieces demonstrate the school's capacity for ambitious design, while the consistent quality of execution across surviving examples suggests a well-established workshop system with shared technical standards. Though individual makers within the tradition rarely signed their work, the distinctive aesthetic—characterized by full-surface compositions, polished dark grounds, and precise multicolor inlay—remains immediately recognizable, preserving the legacy of Kanazawa's metalworking excellence through the Edo period. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Sanekage真景 | 1362-1368 | 47 |
| Takahira高平 | 1621-1644 | 9 |
| Kagemitsu景光 | 1362-1368 | 3 |
| Ietsugu家次 | 1528-1558 | 1 |
| Kagehira景平 | 1661-1673 | 1 |
Mino in the Muromachi period
Sengoku Seki was an industry: smiths organized under their tutelary Kasuga shrine, arming the war bands of central Japan. Magoroku Kanemoto’s sanbonsugi and the finest Kanesada work prove quality survived inside mass production.
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
For returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥290,000
