A Peaceful Late Edo Masterpiece

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This fuchigashira is the work of Tsurutani Hiroaki, who also signed Ishiguro Hiroaki. He was one of the very last students of the famous Ishiguro Masaaki, the great pheasant specialist of the Ishiguro school. If one simplifies the specialties of the school's leading masters, Masatsune is remembered for cocks and hawks, Masayoshi for peacocks, and Masaaki for pheasants.

Hiroaki successfully completed his apprenticeship under Masaaki and was granted the character "Aki", allowing him to sign as an Ishiguro artist. By the time of the Haitōrei Edict in 1876, he was probably only in his early or mid-twenties. Very little sword fitting work by him seems to have survived, and though it is likely that he continued producing metalwork during the Meiji period, also these works seem to be rare.

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It is a shame, because he was clearly a gifted craftsman. Looking at the quality of his work, it would not surprise me if he had been one of the main assistants preparing work for Masaaki's workshop. Of course, that remains speculation, but the level of craftsmanship certainly supports the idea. Had the sword fitting tradition not come to such an abrupt end, Hiroaki could easily have become another great name of the Ishiguro school.

The motif itself is also rather unusual. The Ranchū is often called the king of goldfish and was highly prized among wealthy merchants and the nobility during the Edo period. It represents prosperity, refinement, and a peaceful life. The turtle, likewise, is a familiar symbol of longevity, stability, and good fortune.

Together they create a very different feeling from the dragons, tigers, and other powerful subjects so common on sword fittings of the period. To me, this is a remarkably peaceful composition. It feels like something commissioned by someone who valued calmness and quiet prosperity over displays of strength.

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The workmanship fully lives up to the design. The multi-coloured inlay is beautifully executed, and the treatment of the scales is exceptionally fine. Having handled quite a number of Ishiguro works over the years, my personal feeling is, that only pieces by either of the Masatsune generations surpass this level of detail.

One of my favourite details is the red goldfish on the reverse. The reddish alloy is characteristic of the late Edo period, making it both a wonderful visual feature and a subtle indicator of the piece's age.

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Overall, this is a fitting that rewards close inspection. It combines an uncommon and thoughtful choice of subject with first-class workmanship, while also representing the work of an artist whose career was unfortunately cut short by the changes of the Meiji Restoration. That makes surviving pieces by Hiroaki all the more enjoyable to come across.