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.
NihontoWatchNihontoWatchThis blade is attributed to the work of Kashu Kagemitsu(加州景光). The smith’s name Kagemitsu lasted a few generations from the mid-Nanbokucho period-early Edo period (1356-1673). Based on the characteristic of this blade, we believe the attribution was given to one of Kagemitsu during the late Muromachi period (late 15th-early 16th century). The first-gen Kashu Kagemitsu is said to have been an apprentice of Fujishima Tomoshige. Kagemitsu’s father was Masakage(正景), who had been active in sword-forging during the mid-late Nonbokucho period. This blade was created in the middle of Sengoku Jidai(warring state period: late 15th -late 16th century). During this time, there was so much rivalry among strong feudal lords over lands, political power, and natural resources. We believe Kagemitsu forged swords for those strong Samurais. The generations of Kagemitsu were considered noble swordsmiths. It is said that Hojyo Ujiteru sent a sword forged by one of Kagekatsu to Date Masamune as a present. Both of them are famous warlords from the Sengoku period(warring state period). This story tells us how reputable Kagemitsu was as a swordsmith during that time. This blade 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 few Kitae Kizu on the blade. Tsuka and Menuki The flower depicted on this Menuki is likely a kikyo (桔梗), or bellflower. In Japanese culture, the kikyo is a symbol of honesty, loyalty, and unwavering devotion, qualities highly valued by samurai. The kikyo flower holds historical significance in samurai culture, as it was a famous family crest (家紋, Kamon) used by several prominent samurai clans. One of the most well-known was the Akechi clan, led by Akechi Mitsuhide, a key figure in Japan’s Sengoku period. The flower’s elegant yet resilient nature made it a fitting symbol for warriors who upheld the ideals of duty and honor. Additionally, the kikyo flower is associated with Buddhist and Shinto beliefs, often representing the cycle of life and death. This made it a meaningful motif for samurai, who lived by the bushido (武士道, the way of the warrior) and embraced the transient nature of life. . Tsuba and Habaki This Tsuba is probably made of brass, and its oval shape resembles an egg when turned upside down. This shape is also called “To-ran gata” (倒卵形), literally meaning “an inverted egg shape.” Since this shape of Tsuba has not been found on other continents, it is considered unique to Japan. Furthermore, the origin of Tsuba is said to date back to the Kofun period (3rd–7th century). Swords made during that time have been excavated in the Kanto region (which includes the seven prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tokyo, Chiba, and Kanagawa), and based on these findings, the To-ran gata Tsuba is regarded as the oldest style of Tsuba. Saya This Saya is adorned with a Nishiki-zutsumi decoration, characterized by its beautiful woven patterns. Nishiki-zutsumi(錦包) is one of the decorative techniques used for sword fittings, in which high-quality brocade fabric is used to wrap the Saya or Tsuka. Authentication Paper They authenticated the blade on December 4th in 2024. They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
Kaga School加賀派
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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 |
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.
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.
Certificate reading — 無銘（加州景光）