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 is attributed to Ujisada (氏貞). Ujisada is also known as Izumo no Kami Ujisada (出雲守氏貞). He was active during the late Muromachi period (1570-1593: Genki-Tensho era). According to available records, Ujisada received an honorable official title of Izumo no Kami after the fifth year of the Tensho era (1577) from the imperial court for his excellent craftsmanship. He originally signed Kanesada (兼貞) as his maker’s name and changed it to Ujisada. He was a student of the first-gen Ujifusa and an older brother of Wakasano Kami Ujifusa, who served Oda Nobunaga, one of the most famous Samurai in Japanese history. Ujisada initially forged swords in Mino province (today’s Gifu prefecture) but moved to Owari province (尾張: today’s Aichi prefecture) later in his life. His younger brother, Wakasano no Kami Ujifusa, also moved to Owari province (尾張) from Mino. Anecdote about Ujisada There is an interesting anecdote about Ujisada related to Toyotomi Hideyoshi, one of the three unifiers of Japan during the Sengoku period. When Hideyoshi wasn’t promoted to the high position yet, Kobayashi, one of his peers in the army, owned a great sword signed by Ujisada. Hideyoshi got very fond of the sword and asked Kobayashi if he could buy the sword. However, Kobayashi wouldn’t let it go. After Hideyoshi climbed the social ladder and became the head of 11 provinces, he asked Kobayashi again. He even offered a whole Ise province ( it was called Ise Koku (Country) back then) in exchange for the sword. But, Kobayashi declined Hideyoshi’s offer. This story became famous, and Ujisada became known as Ikkoku Ujisada. Ikkoku means a whole country (province in the old definition). This anecdote indicates that one sword made by Ujisada is worth more than one entire province. Mino Province 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). Due to the high demand for weapons, MINO-DEN exceedingly prospered during Sengoku Jidai(Warring State period). And the location of Mino province beat others. Akechi Mitsuhide controlled Mino province, 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, many wars occurred between the Kanto region and the Kyoto area. Many feudal lords demanded swords forged in the Mino province. 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. 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. *Please keep in mind that there are some visible Kizu on this blade. If you like to see more detailed images, please feel free to contact us. We will be happy to take additional photos and videos. Fuchi-Kashira The Kabutogane (冑金/兜金) is a metal fitting that is attached to the end of a handle. And a Sarute/Sarude (猿手) is attached to this Kabutogane. The user of a sword passed the Udenukio (腕貫緒, a cord wrapped around the wrist to prevent a sword from falling out of the hand, mainly used when riding a horse) through this ring. In addition, the Fuchi Kanamono (縁金物) is also a metal fitting attached to the handle, but on the opposite side of Kabutogane. Other metal fittings of this Koshirae have the same design such as Kuchi Kanamono (口金物, a metal fitting that is attached to the tip of the scabbard close to Tsuba), Seme Kanamono (責金物, a ring-shaped metal fitting placed in the middle of the scabbard to prevent the sheath from cracking), Ashi Kanamono (足金物, metal fittings attached to the positions where Sageo cord is wrapped), and Ishiduki Kanamono (石突金物, a metal fitting that is attached to the end of the scabbard). These metal parts are made of silvery metal, and chrysanthemum patterns are designed in the same style. Tsuka and Menuki A family crest is designed on this Menuki. Golden paint is applied to each Menuki, and its bright color remains in good condition. We believe it is the Takeda Bishi (武田菱) pattern, which is the family crest of the Takeda (武田) clan. Branch families of the Takeda family used the Hishi (菱) pattern for their family crests; however, they had considered the head of the Takeda family. So, they changed the Hishi pattern. This Sankai Bishi pattern might have been one of these examples. We are unsure whether one of the former owners of this sword was related to the Takeda family. Please note that it is just a possibility. Tsuba and Habaki This Tsuba has a simplified Tachi Goshirae Tsuba (太刀拵鐔) style. The difference between Tachi Tsuba (太刀鐔) and Katana Tsuba (刀鐔) is that the top and bottom positions of the Nakago hole (茎櫃, center hole) are reversed. The Tsuba of this Koshirae has Aoi (葵) Tsuba shape. If you focus on four corners, you will find a heart mark-shaped hole is engraved on each edge. It is called the Inome (猪の目) pattern. The Inome pattern has been used since ancient times. As its name implies, the boar’s eyes are the origin of this pattern. Some people believed the Inome design would work as an amulet to protect them from evil spirits or fire. Also, it is said it would bring good luck. About the design, this Tsuba is decorated with chrysanthemums, the same as the Fuchi Kashira we mentioned earlier. A long time ago, chrysanthemums were used as a medicine for obtaining a long life in the continent, and it was brought to Japan with this thought in the Nara period (648-781). The chrysanthemum symbolizes autumn, and people have greatly appreciated it since ancient times. This flower has been likened to the sun as its petals form radially. That is why chrysanthemum designs are treated as the symbol of perpetual youth and longevity or good health. Authentication Paper They authenticated the blade on June 7th in the 45th year of Showa (1970). They appraised it as a Tokubetsu Kiho Touken, an old form of the certificate. The purchaser will receive the original certificate as well.
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Mino-den · Mino · around 1558-1592
Fujishiro Chu-jo saku · Tōken Taikan top 31%
4 pieces on the market now
Ujisada is traditionally regarded as the son of the first-generation Wakasa no Kami Ujifusa of Seki in Mino province, and as the younger brother of the second-generation Wakasa no Kami Ujifusa. Active during the closing decades of the Muromachi period, with dated works spanning from Tensho 3 (1575) through Tensho 7 (1579), he occupied a distinguished position within the Sue-Seki group. He received the court title Izumo no Kami and signed variously as Sakon Shosho, Sakon Gonshosho, and Gonshosho. The sobriquet "Ikoku Ujisada" is said to have been bestowed in praise of the superb quality of his workmanship, an appellation reportedly arising when a discerning warrior requested one of his blades in preference to a sword from another province.
In the usual style of this smith, one finds a forging texture showing a combination of tight ko-itame with a masame-inclined character, and a temper that forms a gently undulating, shallow and broad notare, into which hako-shaped elements are mixed -- features that well display the characteristics of the Sue-Seki group and in particular of the Ujifusa line. His works range from katana exhibiting large notare that hardens into o-midare with tobiyaki assuming a minayaki-like character, to tanto bearing notare mixed with gunome in which slight ashi and yo enter with a tightening nioiguchi, according well with the transmitted manner of his master. Among tanto, many works bear skillfully executed carvings, placing "grass" kurikara or horimono such as gomabashi with rendai -- a hallmark of the line.
Across the body of designated works, the NBTHK repeatedly observes that Ujisada's blades "clearly display the characteristic features of this smith" and that the workmanship in both ji and ha is excellent. His finest pieces are distinguished by brightness and clarity in the steel -- both jihada and temper described as saeru -- to such a degree that one designated example is characterized as giving an impression that could be mistaken for a superior work by Kotetsu. The consistent presence of dated inscriptions among his surviving works adds documentary value to an oeuvre that stands as a representative achievement of late Seki craftsmanship.
Where Ujisada 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 · Owari
16 pieces on the market now
Rooted in Owari province at the boundary between the kotō and shintō eras, the Ujifusa line carried Mino-den forging into the late Momoyama and early Edo decades, working under the Tokugawa establishment of Owari at Nagoya. The setsumei here cover several hands of the group. Wakasa no Kami Ujifusa and Hida no Kami Ujifusa stand as the reference points against which the others are read. Echigo no Kami Fujiwara Ujitsune, recorded in the Meikan and the Mino-tō Taikan as the second son of Wakasa no Kami Ujifusa, first signed Ujishige, received the Echigo no Kami title in Genna 6 (1620), and died at Nagoya in Meireki 2 (1656). Ujisada, who took the court title Izumo no Kami and signed Sakon Shōshō and Sakon Gonshōshō, is transmitted as a son of the first-generation Ujifusa and younger brother of the second-generation Wakasa no Kami Ujifusa; one of his tantō carries a date of Tenshō 5 (1577). The shared hand begins in the kitae: a dense itame mixed with mokume and nagare-hada, carrying ji-nie and, in the fuller work, fine chikei. The temper draws on the Mino-den vocabulary, a notare mixed with gunome, ko-gunome in tsure, large gunome, and pointed togari-leaning forms, the notare often taking angular turns (kado-gakari).
Ko-ashi and yō enter; nie attaches, at times slightly coarse and unevenly applied, with kinsuji and sunagashi in the lower body and tobiyaki and muneyaki scattered through, so that some blades verge on hitatsura and minayaki. The nioiguchi can incline toward shizumi. The bōshi is tempered deeply and far down (yakisage) with hakikake, the point sometimes drawn into a sanpin-style sharpness on one face and an ō-maru on the other. Ujitsune's signed katana reads as a near-textbook gathering of these traits; Ujisada's tantō tightens the nioiguchi (shimarigokoro) toward his master's manner. For kantei, the angular notare, the patchy nie, the shizumi-inclined nioiguchi, and the sanpin-pointed bōshi with long yakisage mark the Wakasa no Kami group; the larger work adds broad mihaba, ō-kissaki, and thick kasane. Carving belongs to the record: a "grass" kurikara and gomabashi with rendai appear on Ujisada's tantō. The Ujitsune katana, by a smith the setsumei call a scant producer, is named his representative work, holding coherence across a great nagasa. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Ujifusa氏房 | 1596-1615 | 16 |
| Ujifusa氏房 | 1571-1592 | 9 |
| Ujifusa氏房 | 1624-1644 | 0 |
| Ujitsune氏恒 | 1596-1615 | 1 |
| Ujisada氏貞 | 1558-1592 | 7 |
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.
This work carries older NBTHK “Kichō”-era papers, which the NBTHK no longer issues and largely disavows today. To confirm the attribution, submission to an official Japanese examination body (such as the NBTHK or NTHK) for modern certification could be considered.
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