Who painted Reverberations of Taiga, Volume 2 (leaf 26)?

Reverberations of Taiga, Volume 2 (leaf 26) was painted by Aoki Shukuya in 1704.

Where can I see Reverberations of Taiga, Volume 2 (leaf 26)?

Reverberations of Taiga, Volume 2 (leaf 26) is held by Cleveland Museum of Art.

What movement is Reverberations of Taiga, Volume 2 (leaf 26)?

Reverberations of Taiga, Volume 2 (leaf 26) is associated with Baroque.

Artwork

Reverberations of Taiga, Volume 2 (leaf 26)

Aoki Shukuya , 1704

Reverberations of Taiga, Volume 2 (leaf 26) 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

Overview

Reverberations of Taiga, Volume 2 (leaf 26) is a modest ink sketch depicting a landscape of rocks, trees and distant mountains. Executed by the young artist Aoki Shukuya, the work exemplifies the early stage of his training, when copying a master’s compositions was the principal method for acquiring brush control and compositional sense.

Subject & Meaning

The composition arranges natural elements—rugged stones, slender trunks and layered peaks—in a balanced, almost schematic manner. While the scene does not narrate a specific story, it serves as a study of form and atmosphere, allowing the apprentice to internalise the visual language of Japanese landscape painting.

Technique & Style

Rendered with monochrome ink on paper, the sketch employs varied brush strokes to suggest texture: dense, stippled marks for foliage, sharper, angular lines for rock edges, and softer washes for distant hills. The overall simplicity mirrors the aesthetic of the Kyoto school, emphasizing restraint and the expressive potential of each brush movement.

History & Provenance

Aoki Shukuya created the piece while apprenticed to the renowned Kyoto painter Ikeno Taiga (1745–1820). In the traditional Japanese atelier system, students reproduced their master’s works to master technique; this leaf is a direct example of that pedagogical practice. The work remains part of a larger portfolio documenting Shukuya’s formative years.

Context

During the Edo period, the master‑apprentice relationship was central to artistic transmission. Ikeno Taiga, a leading figure of the Kyoto school, was known for his elegant yet vigorous landscapes. Shukuya’s sketches, including this leaf, reflect the stylistic hallmarks of Taiga’s approach, illustrating how the school’s visual conventions were perpetuated through copying.