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.
NihontoWatchNihontoWatchIt has appeared, it has appeared, a katana by Kashu Fujiwara Ietsugu, who is honored with the title Kaga Aoe, has appeared. Because this Kashu Ietsugu of Kaga (Ishikawa Prefecture) was a swordsmith of the Fujishima school who produced works extremely similar to the famous swords of Bitchu Aoe, the title Kaga Aoe has been bestowed upon this Kashu Ietsugu since ancient times. The date on this sword can be read as " " " " 3rd year, 2nd month, a day, and it is a katana by Kashu Ietsugu, famous as a wazamono for being extremely sharp, from around the Muromachi period Daiei 3 (1523) (501 years ago). As for the sugata of this sword, a 2 shaku 1 sun uchigatana was shortened, showing a katana sugata with funbari at the moto, a wide motohaba and wide sakihaba, a somewhat large kissaki, and sori; the jigane is itame hada mixed with masame hada, showing chikei in the ji and also showing a faint utsuri, which is tasteful. The hamon is a nioi-deki with nie-attached notare midare-ba mixed with gunome-ba, with kinsuji mixed within the ha, making it a wonderful and spirited katana. Having received this on consignment from an old connoisseur who said they have grown old and wish to pass it on cheaply to the next generation, we are offering it at a special bargain price. Please by all means enjoy this katana by Kashu Ietsugu, who was honored as Kaga Aoe 500 years ago.
NihontoWatchOffered by Nipponto
Ietsugu is a name with Jūyō-designated work, and we couldn’t find current papers for this piece. Treat the name as unproven until papers say otherwise. It is also priced far below papered work by makers of this standing. — Hoshi Ask me first
20 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Mino-den · Kaga · around 1528-1558
Fujishiro Chu-jo saku · Tōken Taikan top 60%
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.
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Mino-den · Kaga
20 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 | 4 |
| Ietsugu家次 | 1528-1558 | 2 |
| 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