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.
NihontoWatchNihontoWatchMoto-haba (Width at Ha-machi) : Approx. 3.21 cm Fukura-haba (Width at Fukura) : Approx. 3.27 cm As seen in the expressions "yari-hitosuji" and "ichiban-yari," the yari was the most important weapon during the Sengoku period. Mounted on a long pole to maintain distance from the enemy, it was used for attacks such as thrusting, slicing, and striking. However, because it was a primary weapon, it was inevitable that those used actively on the battlefield would be discarded if damaged. This is why the survival of healthy yari from the Sengoku period is rare. The titled yari is a ryoshinogi sugu-yari with shinogi ridges on both sides, and the maker is the master smith Kanetsune, who was appointed to the post of Soryoji overseeing the Seki smiths in Genki 2. The mihaba is wide, bracing strongly above the solid shiokubi, with the shinogi ridges standing out sharply, the fukura-haba widening toward the point, and the length extended; it is in a healthy taihai almost unchanged from the time of production. To guard against breakage, the jigane is a densely packed masame-kitae, with ji-nie flowing leisurely from the moto to the saki along the grain reflecting light brilliantly, and Seki-utsuri appears (Note). The suguha-style hamon mixes shallow notare with ko-gunome, the habuchi is bright with granular nie particles, and responding to the masame-hada of the hirachi, multiple layers of yubashiri appear along the habuchi, with kuchiigai and niju-ba in places, and active changes in the habuchi such as small kinsen and sunagagashi; furthermore, nioiguchi is thick and nie-suji flow into the clear hachu. The boshi is strongly hakikake with a shallow kaeri. The preservation of the nakago is also good, with sujikai-yasuri carefully applied and the mei characters carved extremely elaborately. Despite being a yari, it is finished with painstaking ryoshinogi and forged with the exact same passion as the refined forging of a famous sword, resulting in superior deki. Having been present on the battlefield alongside a busho, it is a famous yari of the Sengoku period that has been handed down in a miraculously healthy condition. (Item Number 1801) Note... The presence of a thin masame-ware about 2 cm long near the shinogi ridge above the shiokubi on the omote side is precisely because it is masame-kitae.
NihontoWatchOffered by Choshuya
2 on the market
Machine translation from the shop's Japanese · may contain errors ·
Mino-den · Mino · around 1573-1592
Fujishiro Chu-jo saku · Tōken Taikan top 49%
2 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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Mino-den · Owari
7 pieces on the market now
The line begins with a Mino man. The setsumei record that Sagami no Kami Masatsune (政常) was born at Nōdo in Mino Province, where he first signed Kanetsune (兼常) and is variously said to have been the son or a disciple of Kanetsune of Seki. In Eiroku 10 (1567) he established an independent branch line and moved to Komaki village, likely changing his name to Masatsune about that time; in the fifth month of Tenshō 19 (1591) he received the court title Sagami no Kami, and in Keichō 5 (1600) he followed Matsudaira Tadayoshi to Kiyosu in Owari, where he became a retained smith (kakae-kō) of the Owari Tokugawa house. Several records place him at Kiyosu alongside Hōki no Kami Nobutaka and Hida no Kami Ujifusa, the three later counted as the Owari Sansaku (Three Smiths of Owari). After taking the tonsure and retiring in Keichō 12 (1607), he passed the name to his son; when that second generation died suddenly two years later he resumed forging under the nyūdō signature Masatsune Nyūdō, and is said to have died in Genna 5 (1619) at the age of eighty-four. A separate second generation, Mino no Kami Fujiwara Masatsune, is recorded as the son of Daidō of Gifu, adopted into the line, who carried on its spear and naginata work. A Mino foundation worked toward suguha defines the shared hand. The forging is itame mixed with mokume, frequently flowing into masame toward the mune and shinogi-ji, with the grain standing somewhat (hada-dachi), abundant ji-nie, and chikei; a mizukage-like feature rising from the machi is noted on several tantō and wakizashi.
The temper that the setsumei call his specialty is a chū- to broad suguha in ko-nie-deki, the habuchi worked with hotsure, nijūba, kuichigai-ba, and uchi-noke, with ko-gunome and ko-ashi mixed in, fine kinsuji and sunagashi running through, and a bright nioiguchi. Beside this restrained mode runs a bolder midareba of gunome and ko-notare with togariba, sometimes hakogakari or saka-gakari, where the nie grows coarse and clustered and the nioiguchi turns shizumi (subdued); the notare-ba that the setsumei call the Owari-Seki specialty (尾張関得意の湾れ刃) appears in the wider blades. The bōshi tends to straight with ko-maru and hakikake in the suguha works, midare-komi with a rounded or long return in the midareba works. Carving is plain but crisp: suken, bonji, gomabashi, koshi-hi with soe-hi, and the rarely seen shin no Kurikara in openwork. Among extant works, the setsumei agree, hira-zukuri wakizashi and tantō are the most numerous and of high skill, yari and naginata are comparatively common with the spears often hira-sankaku sasaho form, while katana and shinogi-zukuri wakizashi are extremely few. For kantei this rarity gives weight to the long swords: the 67th Jūyō Kanetsune-signed katana, dated by its sakizori and large kissaki to about Eiroku, anchors the smith's early phase, and the 31st Jūyō Masatsune Nyūdō katana shows the flowing masame, shallow notare, and shizumi nioiguchi read as his own. Named pieces include the Sagami no Kami Masatsune Nyūdō wakizashi held by the Imperial Household Agency and the katana once with Tokugawa Iesato and the Reimeikai Foundation; one wakizashi survives in akikusa-mon koshirae with fittings by Mogarashi Sōten of Hikone. The setsumei note that in his bolder work Masatsune looked to the Sagami masters Sadamune and Nobukuni while keeping the togari and Sanbon-sugi traces of his Mino root, placing his line as the Owari channel through which the Mino-den passed into shintō. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Masatsune政常 | 1567-1619 | 19 |
| Masatsune政常 | 1661-1673 | 0 |
| Masatsune政常 | 1688-1704 | 0 |
| Kanetsune兼常 | 1573-1592 | 1 |
| Masatsune政常 | 1615-1673 | 2 |
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 siteIf, due to our fault, the item differs significantly from its proper condition, the item may be returned. Cooling-off is within one week of the item's arrival.
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