Reverberations of Taiga, Volume 2 (leaf 7)
1704
From the collection of Cleveland Museum of Art
1704
From the collection of Cleveland Museum of Art
Reverberations of Taiga, Volume 2 (leaf 7) is a 1704 by Aoki Shukuya, a Baroque work, held at Cleveland Museum of Art.
This is a single sheet from a painted album: ink on paper, a few quick brushstrokes of a rocky shore, mist, and pine trees. It’s a copy—one of many—of a lost original by Ike Taiga, Shukuya’s teacher. The student didn’t just trace; he kept the loose, almost careless energy of the original. That energy is what mattered to Edo-period artists: not perfect lines, but the feeling of a place in a single breath. To see how this style spread, look up the subject: japan, edo period (1615–1868).
Aoki Shukuya was a top student of painter Ike Taiga and took responsibility for Taiga’s stylistic legacy. A painting album by Taiga, part of which survives today in Kyoto in hanging scroll format, served as the source for this painting by Shukuya and the matching designs from a set of wood-block–printed volumes published in 1804. The postscript to the books, written and carved by the scholar Minagawa Kien (皆川淇園) (1735–1807), explains that Taiga produced the original album for his wife and fellow painter Tokuyama Gyokuran (徳山玉瀾) (1727/28–1784). The third volume of the wood-block–printed books…
Traditionally, young painters in Japan began their studies with an established master painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques.
Read the full account in the museum source.
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