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.
NihontoWatchNihontoWatchThis is a magnificent katana, unsigned yet authenticated in May 2023 by the Society for the Preservation of Japanese Art Swords as a genuine Kashu Ietsugu, with a certificate of authenticity issued. Considering its age, the blade's condition is relatively good, showing no nicks, chips, or rust, though it bears several homare marks—traces of use. The jigane features well-forged itame grain mixed with masame, displaying very active patterns like yubashiri and chikei. Furthermore, utsuuri, characteristic of Bizen katanas, is also visible. The hamon, a gunome pattern with nitedeki, incorporates midare and choji, showcasing numerous patterns like sunagashi, ashi, yo, and tama, making it highly rewarding to appreciate. The beautiful koshizori with its pronounced hump evokes the tachi swords of earlier eras, suggesting exceptional cutting performance. Though the nakago is unsigned, the Society for the Preservation of Japanese Art Swords has attributed this work to Kashu Ietsugu based on its form and characteristics. Kashu Ietsugu was a school of swordsmiths active in Kaga Province (present-day Ishikawa Prefecture) during the Muromachi period. They produced exceptional, sharp-cutting swords resembling the style of Bitchu Aoe, leading their works to also be called Kaga Aoe. The first generation of Ietsugu appeared during the Oei era, and the lineage continued through the late Muromachi period. Recognizing this piece as highly worthy of preservation for future generations, the Society for the Preservation of Japanese Art Swords issued its certificate of authentication in May 2023. Yet, Tozando is now offering it at a very accessible price. Fans of Katana from the Koto period never want to miss this. Blade length: 68.6 cm Curvature: 2.7 cm Number of Mekugi hole: 2 Sakihaba: 16.8 mm Sakikasane: 2.9 mm Motohaba: 28.2 mm Motokasane: 6.1 mm Signature: No signature Era: Koto Structure: Shinogi-zukuri, Iori-mune Jigane: Itame with Masame Hamon: Gunome Boshi: Notarete Haitte Omaru ni
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Mino-den · Kaga
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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.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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 siteAs a general rule, returns/exchanges are not accepted on Japanese sword orders unless damaged upon delivery. Other items: returns/exchanges accepted within 7 days of delivery. Cancellation for personal reasons incurs a 30% restocking fee (70% refunded). Return shipping must be prepaid and insured by the buyer; shipping/handling fees are non-refundable. Contact katana@tozando.co.jp to initiate a return.