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Source Description
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).<br><br>The third volume of the wood-block–printed books contains an image of a tall mountain peak with the text “high and distant” (高遠) to its left. Shukuya’s version of this design includes additional words—he wrote that the design represents the method of Wu Daozi (吳道子) (Chinese, about 689–759). Revered as one of the most important Tang-dynasty painters, Wu Daozi’s work is known today only through copies.
Scholar Source Context
Document identity
localId
149757
label
Reverberations of Taiga, Volume 2 (leaf 7)
core
obj
dtoType
object
pageCount
1
Source metadata
id
149757
contentType
object
title
Reverberations of Taiga, Volume 2 (leaf 7)
description
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).<br><br>The third volume of the wood-block–printed books contains an image of a tall mountain peak with the text “high and distant” (高遠) to its left. Shukuya’s version of this design includes additional words—he wrote that the design represents the method of Wu Daozi (吳道子) (Chinese, about 689–759). Revered as one of the most important Tang-dynasty painters, Wu Daozi’s work is known today only through copies.
date
mid-1700s–1802
rights
CC0
rightsUri
CC0
language
en
wikidata
Q60474285
creators
35683
genreSpecific
Portfolio
imageCount
1
source
import
dimensionsRaw
["Album","closed: 28.3 x 33 cm (11 1/8 x 13 in.)"]
cul
Japan, Edo period (1615–1868)
accession
1979.73.2.7
Source extras
tec
double-leaf from a pair of albums; ink and light color on paper
tombstone
Reverberations of Taiga, Volume 2 (leaf 7) (大雅餘韻), mid-1700s–1802. Aoki Shukuya (Japanese, d. 1802). Double-leaf from a pair of albums; ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1979.73.2.7
titleInOriginalLanguage
大雅餘韻
collection
Japanese Art
inscriptions
inscription
高遠/
吳道子法
inscription_translation
high and distant/
Wu Daozi's method
inscription_remark
In addition to describing the tall mountain peak, Shukuya also wrote that the design represents the method of Wu Daozi (吳道子) (Chinese, about 689–759). Revered as one of the most important Tang-dynasty painters, Wu Daozi’s work is known today only through copies.
sortorder
1
formerAccessionNumbers
1979.73b.7
didYouKnow
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.
creditline
Andrew R. and Martha Holden Jennings Fund
updatedAt
2026-06-17 12:47:01.948000
sourceId
149757
dept
Japanese Art
coll
Japanese Art
med
double-leaf from a pair of albums; ink and light color on paper
creatorTags
male
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
a6d3fd589fccae42