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.
NihontoWatchNihontoWatchSummary This blade was signed by Kanetsune(兼常). According to historical records, a few swordsmiths used Kanetsune as his maker’s name during the early-Muromachi period- early Edo period(1394-1644). We made a phone call to NBTHK and confirmed that they appraised this blade as one made during the late Muromachi period (1492-1569) in Mino province( Gifu prefecture today). It is said that the first-gen Kanetsune(初代兼常) belonged to Yamato school in Nara prefecture. And he moved to Mino province in O-Ei era(1394-1428: Early Muromachi period). Since then, the school had flourished for generations. The school’s fame was close to that of Magoroku Kanemoto, Izumino kami Kanesada, prestigious 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(1603-1868). 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, and 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. Sunnobi Tanto (寸延び短刀) In Japanese sword terminology, this blade is categorized as a Wakizashi because its cutting edge length is more than 30 cm long. However, it is much shorter than the average Wakizashi sword. And it is very close to the Tanto sword. This Tanto is called Sunnobi Tanto, a Wakizashi sword whose cutting edge is very close to the category of Tanto (Cutting edge less than 30 cm). And it must have been used as a Tanto back in the day. This blade is appraised as a Tokubetsu Hozon Token(特別保存刀剣) issued by NBTHK(Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there is one relative noticeable Kitae Kizu on the blade. Koshirae There is a family crest design on Fuchi, Kashira and Kojiri. We believe it is Maruni Chigai Taka no Ha (丸に違い鷹の羽), crossing hawk’s feather and circle. It is said that this family crest was firstly used by Kikuchi Takemitsu, the son of Godaigo emperor. It gained recognition after Otani Yoshitsu, a famou feudal lord used this crest. Hawk is an intelligent bird used for hunting, called falconry. It was famous as a recreation among high-class Samurais. In the old days, it was also familiar with emperors and royal families, so it might be why the hawk was regarded as a symbol of the ruler’s authority. During the warring period, the boy’s success was to become an excellent Samurai; therefore, it has been thought that men (Samurai) and the hawk had a deep connection as a symbol of advancement and authority. Many Samurais loved this design based on that reason. Furthermore, its wings were used for one of Samurai’s primary weapons; an arrow (They put hawk’s wings as arrow’s feather). The arrow itself is reminiscent of victory or defeat, battlefield; it is not difficult to imagine that Samurais also liked the hawk wings attracted to arrows. Still today, various family crests use this bird wing’s motif. Tsuka and Menuki Mantis is also called “Ogami-Mushi (拝み虫),” or “Inori-Mushi (祈り虫)” in Japanese. Both of these names mean a praying insect. Mantises hold their arms together, and their long wings cover their lower bodies. As this posture looks like a priest who prays to God, the mantis is likened to a “praying mantis.” Mantises lay well. Therefore mantis is considered a symbol of children. Tsuba and Habaki This kind of Koshirae is called Aikuchi Koshirae, which has no Tsuba. Kozuka You would find the figure of an animal similar to a dog on the Kozuka Hitsu. We believe this animal is the Karajishis (唐獅子). The Shishi (獅子) means a lion in Japanese, and the Karajishi is a lion brought from the continent to Japan in the Toh period (唐, Tang dynasty, 618-907). The Karajishi typically has curly hair for its head, neck, body, and tail. A simplified pattern of this curly hair is carved as the body hair pattern of the Karajishi on this Tsuba. In Buddhism, the Karajishi is regarded as a symbol of wisdom, and Monju Bosatu (文殊菩薩, Manjushri Bodhisattva) rides lions. According to a theory, the Karajishi is the origin of Komainu (狛犬, stone guardian dogs that exorcize evil spirits). It shows this beast motif has been familiar to Japanese people since ancient times. Kougai We believe the motif of this Kougai is Bamboo. Bamboos grow neatly towards the sky, and it is vital so that this motif represents nobility and strength. Besides, the bamboo breaks straight, but its content is hollow; people thought it shows innocence. According to a Chinese legend, Houhou (鳳凰, Fenghuang) eats bamboo fruits; therefore, bamboo has been considered a sacred plant. Also, as it keeps its green color even in cold winter, people thought the bamboo pattern shows eternity and longevity. We would say that the bamboo pattern is one of the familiar designs for Japanese people since ancient times. Authentication Paper They authenticated the blade on August 25th in the 4th year of Reiwa (2022). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Mino-den · Mino · around 1532-1555
Tōken Taikan top 31%
3 pieces on the market now
Where Kanetsune 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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Years he was demonstrably active, proven by signed-and-dated blades
Mino-den · Mino
130 pieces on the market now
Seki (関), in Mino Province, grew from two roots set down in the Nanbokuchō period and rose to become the great center of mass sword production in the late medieval age. The published sources trace the wellspring of Mino swordmaking to Kinju (whose name the commentary also reads Kaneshige), counted since antiquity among the Masamune Jittetsu, the ten disciples of Sōshū Masamune, and to Kaneuji of the Shizu line; the Kokon Meizukushi records Kinju as a native of Tsuruga in Echizen who "crossed over to Seki and resided there," carrying the Sōshū-den manner east. Beneath that Sagami inheritance lay a Yamato foundation, legible in the Tegai descent of the Seki Zensada line through Kaneyoshi, so that the Mino-den the Seki workshops forged stands as a fusion of Yamato grain and Sōshū activity in nie. From this Nanbokuchō founding the name multiplied across the Muromachi period into Sue-Seki, the last and largest body of the tradition; its representative masters at the close of the old-sword age were Magoroku Kanemoto, famed for the sanbonsugi, and Izumi no Kami Kanesada, the smith called Nosada, while the Kanefusa, Ujifusa and Daidō hands worked beside them and the move of Wakasa no Kami Ujifusa to Kiyosu carried the Mino body to the threshold of Owari shintō. A common Mino vocabulary binds the Seki body, however widely its members range. The forging is an itame that stands and runs to masame, often mixed with mokume and nagare, over which rises the cool whitish shirake-utsuri of Mino steel rather than the bright midare-utsuri of Bizen; this pale, standing jigane is the constant tell the judges read first, present alike on Kinju's Nanbokuchō katana, Kaneyoshi's Ōei tachi and Nosada's late-Muromachi blades. Over it the smiths temper gunome into which the pointed togariba of Mino enters, with ko-nie clinging to a tight nioiguchi, ashi and yō, and sunagashi streaming through; the bōshi answers in midare-komi turning to a pointed or jizō-cast ko-maru swept with hakikake. From this shared grammar the individual hands diverge.
Kanemoto fixed the regular three-cedar sanbonsugi of pointed teeth; Kanefusa devised the rounded-head, constricted-waist "Kanefusa midare"; Kinju and the early founders held a calmer, rounder gunome away from the restless Shizu line, their work laid with thicker ji-nie and dry, standing grain. The late masters carried the manner to a higher finish: Nosada wove togariba among rounder forms for a broader temper than Kanemoto's one-sided file, and turned at times to a slender Rai-styled suguha with a hidden gunome; Kaneyoshi held instead to a cool ito-suguha, the disciplined Yamato face of late Seki, lightly broken with ko-gunome. A collector seeks Seki because it is the connoisseur's ground for reading Mino-den across a vast body of signed and attributed work. The kantei runs through the jigane first: the standing, masame-leaning itame and the whitish shirake separate a Seki blade from Bizen and Yamashiro, after which the pointed togariba, the dry nie, and the pointed or jizō bōshi confirm the province; the discriminations the judges draw, Kinju held apart from Shizu by his rounder gunome, Nosada parted from Kanemoto by his breadth, give the eye its anchors. Within the school the standing of the best members is settled: Magoroku Kanemoto for the sanbonsugi, Nosada whom the swordbooks call simply "an excellent master" and the most accomplished of the several Kanesada hands, and the early Kinju as a rare and precious founding name, his record running through the Jūyō tier with the signed pieces few and the long blades attributed den. Signature works carry real provenance: a Kinju tantō presented to the Tokugawa shogunal house in 1679, a Nosada katana borne by a chief retainer of the Kii Tokugawa and a tachi forged for the father of Takeda Shingen, a Kaneyoshi tachi transmitted in the Chikuzen Kuroda family. Beyond connoisseurship, Seki's blades earned a battlefield reputation for cutting; the full hiraniku and stout build of the Sue-Seki katana, made to sever, set the wazamono standing that made Mino the working sword of its age. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kinju金重 | 1340-1346 | 42 |
| Kaneyuki金行 | 1350-1352 | 10 |
| Kanekore兼之 | 1504-1555 | 7 |
| Kanenori兼法 | 1579-1615 | 5 |
| Nagasada永貞 | 1862-1866 | 5 |
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.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
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.