This katana is signed by Iyo Daijo Katsukuni, a smith from Kaga active in the early Shinto period. It features a ko itame hada with masame and a gunome hamon with pointed elements reminiscent of Seki Kanemoto. The blade is in excellent condition with no defects and comes with a silver foil habaki and a shirasaya.
NihontoWatchmei · Echizen Seki · Shinto · nagasa 65.7cm · sori 1.1cm
Mino-den · Kaga
26 pieces on the market now
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 | 3 |
| Ietsugu家次 | 1528-1558 | 1 |
| Kagehira景平 | 1661-1673 | 1 |
The Edo period (1615 to 1868)
For two and a half centuries of peace the sword was the warrior’s legal badge rather than his weapon. Each great city developed its own manner, Edo’s tested strength against Ōsaka’s polished brilliance, until demand thinned in the era’s last decades.
The NTHK’s principal certificate, issued for a blade of considerable quality. It confirms a genuine signature, or, for an unsigned (mumei) work, records the judges’ attribution to a smith or school. The paper carries a detailed worksheet with a numerical point score.
The NTHK (Nihon Tōken Hozon Kai, the Society for the Preservation of the Japanese Sword) is the oldest of Japan’s sword-appraisal bodies, founded in 1910, decades before the NBTHK. After the death of its long-serving head it divided into two successor societies, the NTHK and the NTHK-NPO, both of which continue to hold shinsa. NTHK certificates are known for a detailed worksheet that records a numerical point score alongside the judges’ written opinion, and the society is especially respected for its attribution of unsigned (mumei) work.
3-day return window from receipt.
This katana is signed by Iyo Daijo Katsukuni, a smith from Kaga active in the early Shinto period. It features a ko itame hada with masame and a gunome hamon with pointed elements reminiscent of Seki Kanemoto. The blade is in excellent condition with no defects and comes with a silver foil habaki and a shirasaya.
NihontoWatchmei · Echizen Seki · Shinto · nagasa 65.7cm · sori 1.1cm
Mino-den · Kaga
26 pieces on the market now
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 | 3 |
| Ietsugu家次 | 1528-1558 | 1 |
| Kagehira景平 | 1661-1673 | 1 |
The Edo period (1615 to 1868)
For two and a half centuries of peace the sword was the warrior’s legal badge rather than his weapon. Each great city developed its own manner, Edo’s tested strength against Ōsaka’s polished brilliance, until demand thinned in the era’s last decades.
The NTHK’s principal certificate, issued for a blade of considerable quality. It confirms a genuine signature, or, for an unsigned (mumei) work, records the judges’ attribution to a smith or school. The paper carries a detailed worksheet with a numerical point score.
The NTHK (Nihon Tōken Hozon Kai, the Society for the Preservation of the Japanese Sword) is the oldest of Japan’s sword-appraisal bodies, founded in 1910, decades before the NBTHK. After the death of its long-serving head it divided into two successor societies, the NTHK and the NTHK-NPO, both of which continue to hold shinsa. NTHK certificates are known for a detailed worksheet that records a numerical point score alongside the judges’ written opinion, and the society is especially respected for its attribution of unsigned (mumei) work.
3-day return window from receipt.
