Tōsanshi Toshihide Tsuba

from Mito, master craftsmen like Hagiya Katsuhira or Unno Yoshimori and especially the late Edo works are both of high quality and creativity. Many master craftsmen had numerous names they signed with and the detailed structures, relations and identities are often hard to unveil. Thus the few, yet finely done works we see signed Tōsanshi Toshihide might also be a name variety of another artist.

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The present Tsuba carries a very appealing and well-designed Zen-Buddhist theme, depicting the Śākyamuni Buddha returning from six years of asceticism in the mountains. The motif holds a significant place in Japanese art and Buddhist iconography. This pivotal moment in the Buddha's life marks his renunciation of extreme ascetic practices and the beginning of his middle path towards enlightenment. This scene is often portrayed with great reverence and

attention to detail. Śākyamuni is typically depicted as an emaciated figure,

clothed in simple robes, with a countenance reflecting deep contemplation

and inner resolve. This motif stands out as a very human depiction of 

Śākyamuni, nearly depriving him of his superhumanity.  His hands are not

visible but hidden under his robe, thus lacking the normally expected

'mudra' gesture, which in this case symbolizes the Zen Buddhist virtue

of wordlesness. The landscape surrounding him may vary, but it often

symbolizes the harsh and rugged terrain of the mountains where he

undertook his ascetic practices.

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This very special motif serves as a visual representation of the

Buddha's rejection of extreme asceticism as a path to enlightenment. By

returning from the mountains, Śākyamuni demonstrates his realization

that spiritual liberation cannot be attained through self-mortification

alone but requires a balanced approach that encompasses both mental

discipline and compassionate action. Moreover, this depiction embodies

the Buddhist concept of the Middle Way, which advocates for moderation

and balance in all aspects of life. Śākyamuni's decision to abandon

extreme asceticism in favor of a more balanced path serves as a

timeless lesson for practitioners, encouraging them to avoid the pitfalls of

extremes and embrace a path of mindfulness, compassion, and wisdom.

Furthermore, the portrayal of Śākyamuni returning from the mountains

inspires contemplation on the nature of suffering and the human condition.

His journey of self-discovery and eventual enlightenment serves as a

source of inspiration and hope for all beings seeking liberation from the

cycle of birth, suffering, and death.

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In essence, this depiction of Śākyamuni Buddha plays a crucial role in in Japanese Zen Buddhism and was thus very popular in monasteries, serving as a visual reminder of the Buddha's teachings on the Middle Way and the path to enlightenment. Through its portrayal, it continues to inspire practitioners to cultivate mindfulness, compassion, and wisdom in their own lives, thus enriching both artistic expression and spiritual practice in Japanese culture.

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rendered from the iron plate. The reeds are boldly executed and the gold application gives another, more subtile reflection of the moonlight. The whole scenery is complemented by the carved rocks and cliffs, as well as the overall shape of this Tsuba, setting the

mountain scenery hosting this important event. The back of the

piece has decent gold applications and a silver inlayed moon,

reflecting in a mountain lake with glossy, soft clouds, smoothly

worked from the iron plate. The reeds are boldly executed

and the gold application gives another, more subtile reflection

of the moonlight. The whole scenery is complemented by the

carved rocks and cliffs, as well as the overall shape of this

Tsuba, setting the mountain scenery hosting this important

event.

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This Tsuba is a great, very elegant and innovative late Edo

Tsuba, reminding of works from the Tanaka school and

others. It is signed Keiō kaireki satsuki (慶応改暦皐月)

'fifth month of the new Keiō period'; Tōsanshi Toshihide +kaō

(東山子寿秀) and thus also an interesting reference with its

date. Such a piece, while not being a loud one, is a silent eye

catcher and can stand its ground in any collection.