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About the maker

Kashu Kanewaka兼若

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.

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