Who painted Reverberations of Taiga, Volume 2 (leaf 19)?

Reverberations of Taiga, Volume 2 (leaf 19) was painted by Aoki Shukuya in 1704.

Where can I see Reverberations of Taiga, Volume 2 (leaf 19)?

Reverberations of Taiga, Volume 2 (leaf 19) is held by Cleveland Museum of Art.

What movement is Reverberations of Taiga, Volume 2 (leaf 19)?

Reverberations of Taiga, Volume 2 (leaf 19) is associated with Baroque.

Artwork

Reverberations of Taiga, Volume 2 (leaf 19)

Aoki Shukuya , 1704

Reverberations of Taiga, Volume 2 (leaf 19) is a work on paper by the Baroque artist Aoki Shukuya. It dates from 1704 and is held in the collection of the Cleveland Museum of Art.

About this work

The apprentice would practice ink and brush techniques by reproducing their master's compositions, which helped them develop their skills.

This painting shows rocks, trees, and mountains in a simple style.
It's a copy of a master's work, which was a common way for young painters to learn.
The apprentice would practice ink and brush techniques by reproducing their master's compositions, which helped them develop their skills.
You can learn more about the artist who inspired this style at the work of Ikeno Taiga's pupil, artist: Aoki Shukuya (Japanese, d. 1802).

Overview

Reverberations of Taiga, Volume 2 (leaf 19) is a portfolio page that records a study of rocks, trees and mountains rendered in a restrained ink style. The work belongs to the late Edo period and exemplifies the pedagogical practice of copying a master’s composition as a means of mastering brushwork and tonal control.

Subject & Meaning

The composition presents a stylised landscape where craggy rocks rise amid sparse foliage and distant peaks. The minimalistic treatment emphasizes the essential forms of nature, reflecting the aesthetic values of simplicity and subtlety that were central to the school of the artist’s teacher.

Technique & Style

Executed with ink on paper, the drawing employs varied brush strokes to suggest texture—dense, dark lines for the rock faces and lighter, fluid washes for the trees and sky. The approach mirrors the techniques taught by the Kyoto master, focusing on controlled pressure and tonal gradation to convey depth.

History & Provenance

The piece was created by Aoki Shukuya (d. 1802), a disciple of the renowned painter Ikeno Taiga. As part of a series of copied studies, it served as a training exercise for Shukuya, documenting his progress in assimilating his master’s visual language.

Context

During the Edo period, aspiring artists typically entered a workshop where they learned by reproducing their mentor’s works. This method ensured the transmission of stylistic conventions and technical skills across generations, situating Shukuya’s study within a broader tradition of apprenticeship in Japanese painting.