Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
NihontoWatchNihontoWatchThis blade was signed by Kanetsuji (兼辻) during the late Muromachi period (late 15th-early 16th century) in Mino province (today’s Gifu prefecture). He was based in Seki (関), a town known for its high-quality blades. His work is a fine example of the MINO-DEN (美濃伝), a school of sword-making famous for its practical and innovative designs during times of conflict. Those who forged during the late Muromachi period are called Sue-Seki, and Kanesada is categorized as one of the Sue-Seki swordsmiths. The MINO swordsmiths style, also known as MINO-DEN, basically has the TOGARI(Pointed shapes protruding from the Hamon )in a classic straight line and random temper line with some white Utsuri. MINO-DEN had its origin from YAMATO-DEN in the late KAMAKURA period(1280-1330). It flourished in the MUROMACHI period(1333-1573) and continued until the EDO period(was1603-1868). Late Muromachi period was a time of political and social upheaval, especially the Onin War (応仁の乱, 1467-1477) had plunges Japan into chaos, marking the start of the Sengoku period, an age of constant warfare among regional lords. This unrest created a strong demand for well-crafted swords, and Mino province became a center for production. Kaneuji’s work from this era reflects the needs of the time, with a focus on functionality and reliability while maintaining the artistic qualities valued in Japanese blades. MINO DEN MINO-DEN exceedingly prospered during Sengoku Jidai (Warring State period) due to the high demand for weapons. And the location of Mino province beat others. Akechi Mitsuhide controlled Mino province, and Nobunaga Oda ruled Owari province. Tokugawa Ieyasu was the lord of Suruga (Neighboring areas). There was high demand from those powerful feudal lords and their retainers. Furthermore, so many wars occurred between the Kanto region and the Kyoto area. Mino is located in the middle, making feudal lords feel convenient to order swords from MINO-DEN. The blades forged in MINO provinces also had the reputation of their practical design and sharpness. Many feudal lords demanded swords forged in the Mino province. This highly skilled sword-forging technique has been passed down for generations. The smith’s name “Kanesada” was one of the most famous ones even after the warring state ended. Horimono (Engraving) This blade features exquisite engravings (Horimono, 彫り物). The engraving on this blade is known as “Hataboko” (旗鉾). This motif depicts a banner wrapped around a spear with a cross-shaped tip, a design rich in symbolic meaning. In Japanese sword iconography, the Hataboko engraving represents Bishamonten, one of the Four Heavenly Kings in Buddhist tradition. Like Fudō Myōō, Bishamonten is believed to ward off evil, protect the bearer from misfortune, and provide spiritual guardianship. Bishamonten originally appeared in Indian mythology as a deity associated with wealth and treasure. As his worship spread through China and eventually to Japan, his role evolved into that of a god of war and protection. In Japan, Bishamonten became especially revered by samurai, who prayed to him for victory in battle, personal safety, and unwavering strength. Tachi Koshirae This blade is stored in Tachi(太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. It is appraised as a Hozon Token (保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a couple of Kitae Kizu on the blade. Fuchi-Kashira This Fuchi-Kashira appears to feature lightning bolts (稲妻, inazuma). The zigzag pattern is presumed to represent the raimon (雷紋, thunder motif), symbolizing the power and energy of lightning. In Japanese tradition, lightning has often been regarded as a manifestation of divine force and a protective symbol warding off evil. Samurai appreciated such motifs as they embodied strength and reverence toward the forces of nature. Tsuka and Menuki The theme of this Menuki is the same as Fuchi-Kashira: lightning bolts. Tsuba and Habaki The theme of this Tsuba is Karakusa (Arabesque). It is a pattern in which stems and leaves of vines are twined and make curves. Since ivy has a strong vitality and grows up without interruption, people regarded this design as a symbol of prosperity and longevity. Vine is called Tsuru (蔓) in Japanese, and it has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means ten thousand. In the Karakusa pattern, leaves and vines are connected like Obi (帯, belt). The word “帯” can also be read “Tai.” Due to its pronunciation, the term “代 (Tai)” is associated. From this word-association game, an idiom 万代 is associated, and it means a thousand generations. In other words, we could imagine that people used this design wishing prosperity and longevity for their clans for a long time. Authentication Paper They authenticated the blade on February 21st in the 7th year of Reiwa (2025). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
Offered by Samurai Museum
Mino · around 1555-1558
Fujishiro Chu saku · Tōken Taikan top 76%
1 piece on the market now
The Muromachi period (1392 to 1573)
Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
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 siteReturns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
¥1,250,000
Certificate reading — 銘 為濃州兼辻之作（関）鳥井則光摺之