NihontoWatchNihontoWatchTsuba from the school – or the region – Kaga, which when they where signed, are difficult to find, as most of tsuba or kodogu from Kaga was left unsigned. This tsuba shows a famous design: “Autumn insects with cage”. During the Edo period, some artists called “Tomomasa” were active in Kaga. Further research is needed to determine which Tomomasa made this tsuba and, more importantly, when. Here is another example for Kaga which would make a wonderful set. The shape is a perfect mix of maru gata (round) and nara maru gata (oval) as it is slightly larger in height than in width, which is not noticeable at first glance but gives a more aesthetic taste to the overall impression. Even though it is more of a medium sized tsuba, the seppa dai is raised to the height of the rim, creating a small valley in the middle of the tsuba, making it very interesting to look at. While the decorative design elements are placed more on the right side, the upper left part remains untouched. This is of course intentional, because if the tsuba would be mounted on a sword, the sword wielder’s thumb would rest here. I don’t want to say that it was the thumb of a samurai: Since this tsuba was made during the Edo period, it is very likely that this tsuba was carried by a marchant. During the Edo period, merchants became a wealthy class and were allowed to carry a short sword, the wakizashi. Due to the size of this tsuba, it is surprisingly suitable for a wakizashi. Also the workmanship and the materials used for this tsuba suggest, that it would have been an expensice tsuba. As samurai became poorer and poorer during the Edo period, it seems that is was the tsuba of a merchant or a samurai of higher rank. Ultimately, the tsuba could have been a gift for simple viewing pleasure. Tomomasa put his signature on the backside, so that the omote is not disturbed when the tsuba is looked at when it’s not mounted. But there are some traces near the nakago hitsu ana that the tsuba in fact was mounted and used. As there are no tagane, I think the tsuba was mounted only on one sword, maybe even custom made to fit perfectly without further need of modification. The subject of the tsuba is “Autumn insects with cage”. In Japan it was common to catch cicadas and place them in a special cage, so that the sounds the cidaca create, it’s music, could be enjoyed. On the omote we see two cicadas, inlayed with gold in a technique called hira zogan – “flat inlay”. The cicada itself is engraved with fine kiriba. It’s legs and antennas, as well as the cage, are inlayed in very small hairline carving, which is common and typical for kaga tsuba. Also some blades of grass are depicted in the very same technique. Finally, we come to the ura side where also a bit of grass is visible along with the artist’s signature:
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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 |
Certifies a genuine fitting worth preserving: a correct signature, or, if unsigned, an identifiable era and school, with recognized artistic and craft value.
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 site€2,500