Who painted Reverberations of Taiga, Volume 2 (leaf 35)?

Reverberations of Taiga, Volume 2 (leaf 35) was painted by Aoki Shukuya in 1704.

Where can I see Reverberations of Taiga, Volume 2 (leaf 35)?

Reverberations of Taiga, Volume 2 (leaf 35) is held by Cleveland Museum of Art.

What movement is Reverberations of Taiga, Volume 2 (leaf 35)?

Reverberations of Taiga, Volume 2 (leaf 35) is associated with Baroque.

Artwork

Reverberations of Taiga, Volume 2 (leaf 35)

Aoki Shukuya , 1704

Reverberations of Taiga, Volume 2 (leaf 35) 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 35) is a modest ink drawing that records a landscape of rocks, trees and distant mountains. Executed on paper as part of a larger portfolio, the work exemplifies the disciplined practice of a young Japanese artist mastering brushwork through direct observation and replication of natural forms.

Subject & Meaning

The composition presents a simplified yet carefully rendered natural scene, focusing on the interplay of stone, foliage and horizon. By concentrating on elemental forms, the drawing serves as a study in proportion and atmospheric perspective, allowing the apprentice to internalize the visual language of traditional Japanese landscape painting.

Technique & Style

Rendered with ink on paper, the piece employs varying brush strokes to suggest texture—crisp lines for rock edges, softer washes for tree trunks, and faint tonal gradations for distant mountains. The stylistic approach mirrors that of Ikeno Taiga, reflecting the apprentice’s adherence to his master’s compositional conventions and brush techniques.

History & Provenance

Created by Aoki Shukuya while he was a disciple of the renowned Kyoto painter Ikeno Taiga, the drawing forms part of a pedagogical series intended for study. Such copies were customary in the Edo‑period apprenticeship system, wherein students reproduced their master’s motifs to acquire technical proficiency before developing an independent style.