A fitted entirely with his work takes its subjects from the Twenty-Four Filial Exemplars of China, and its iron is dated in the cyclical year 戊辰, which the published sources identify as Meiji 1 (1868). Its maker, Shibahara (Fujiwara) Toshiyoshi, was born in Bunsei 12 (1829) and went by the common name Kyutaro. The 's commentary calls him an outstanding talent among the pupils of Toryusai Kiyotoshi, an artist who carried on the stylish, true technique of the Toryusai school and who is praised as a master second only to his teacher. He used the art names Seijo, Koso (孔叟), Koso (耕叟) and Ryugansai, and his work runs from the closing years of the period into the early Meiji era.
The piece the published sources single out as his strongest is a of a tiger in the rain. They note that the tiger was a subject favoured by Tsuchiya Yasuchika of the Nara school, and later attempted by Iwamoto Konkan, Taizan Motoyoshi and Murakami Jochiku. Toshiyoshi carved his tiger in in high relief, coloured it and set it as an applied inlay on a polished iron plate. The commentary finds it extremely rich in volume, the eyes keen, the fierce animal carried by its thick, heavy forelegs. It calls the 「寿良の技量がいかんなく示された屈指の作」, a leading work in which his skill is shown to the full, charged with force, with the rain also well rendered.
His preferred plate is polished , which the commentary calls his specialty, and he worked , iron, , solid gold and solid silver beside it. On a of Saigyo standing alone beneath a willow by a quiet river, the published sources praise the modest but assured chisel and 「柔軟性に富む円やかな彫り口」, the supple, rounded carving that is his own quality. They add that the cat-scratch file marks on the reverse are often seen in this school. On a three-piece set of the poets Yamabe no Akahito and Saigyo, the empty field is given light and shade 「特殊な技法で濃淡をつける」, by a special technique, so that the carries the loneliness of an autumn evening and the the breadth of Suruga Bay beneath . On a of the Setsubun demon-expelling rite he hammered into a texture, and the commentary finds the essence of the piece in the oni's sharp yet somehow bewildered expression.
His subjects are figural above all, and Chinese sages and immortals are handled with a gentle air. A of three immortals shows Gama and Tekkai on the front and Choka-ro on the back, and in the carving of its pine and bamboo the commentary sees the manner of Kiyotoshi. A and set pairs Wasei with crane and plum against the giant Kyoreijin with his tiger, worked on with a roughened texture, fine high relief, varied colour inlay, flat inlay and keshi gilding. A of Okuninushi, shown in the guise of Daikokuten with his mallet and great sack, carries the maxim 「徳者本也 財者末也」, virtue as the root and wealth as the branch, and the commentary reads the whole as 「沈着とした雰囲気に満ちている」, filled with a composed, settled atmosphere. A Jurojin sets the god beneath a great pine trunk on the front and a deer in open space on the back, and a pair of renders the guardian Kongo Misshaku, the vajra-bearer who drives off the enemies of the Buddha, in hiirodo copper with and gold.
Within the Toryusai school the published sources treat him as the closest continuator of his teacher. They call him the most capable hand among Kiyotoshi's pupils, and of a pair of of a fisherman and an Ohara woman at rest they write that the work convinces one that he was 「清寿門下随一の金工」, the foremost metalworker among Kiyotoshi's pupils. His fittings also appear on complete , among them an mounting fitted throughout in solid gold with landscape fittings, and another in solid silver whose fittings follow the four seasons. On one mounting the and are his, while the is by Koryusai Fukawa Kazunori, a separate artist trained under Higashi Masutsune, and that piece is not his hand.
His designated record is fourteen works, all at the rank for sword fittings and mountings, among them , , , a three-piece set and complete . There are no pieces, and no current holder or provenance is recorded against them. One is kept in a box of the Ryushido inscribed by Katsumi in remembrance of him, and a pair of comes with its original box. His work appears on the market from time to time rather than often, and a signed piece on polished , carved with the supple, rounded relief the published sources name as his own, shows the side of his art they praise most.