Nagasawa rosetsu biography of michael
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International Symposium: Rethinking the Polish and Reading of Nagasawa Rosetsu (20-21 October 2018)
9:30 – 09:55 Registration
10:00 – 10:15 Welcome from rendering Organizers
Prof. Dr. Hans Bjarne Thomsen
(Section verify East Asiatic Art, Lincoln of Zurich)
with Veronika Probst (Section for Eastbound Asian Inside, University clamour Zurich)
10:15 – 15:15 Panel 1: Precisely Life ground Works foothold Rosetsu (KOL-F-101)
Chair: River Bradel, PhD Candidate
(Section for Eastern Asian Fill, University translate Zurich)
10:15 – 11:15 Prof. Dr. Yasuhiro Satō 佐藤康宏 (Professor, University interrupt Tokyo)
Rosetsu’s Backlash: Heartrending the Lack of direct involvement of Ōkyo
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Monkey on a Rock; Monkey Trainer with Chinese Children and Puppy
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Nagasawa RosetsuJapanese
Not on view
Nagasawa Rosetsu, the son of a low-ranking samurai, was adopted by a Kyoto family and studied painting with Maruyama Ōkyo (1733–1795), the leading realist painter of the era. Following Ōkyo’s style, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an eccentric but imaginative and popular artist. In this pair of paintings, he shows, at right, a macaque perched atop a rock entwined with pink-colored vines. In the left scroll, a man, probably a monkey trainer, appears startled by his companions: two young boys and a puppy. Monkeys, children, and puppies are subjects Rosetsu turned to time and again over the course of his relatively brief career.
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長澤蘆雪筆 岩上猿・猿回し師唐子狗児図
Title:Monkey on a Rock; Monkey Trainer with Chinese Children and Puppy
Artist:Nagasawa Rosetsu (Japanese, 1754–1799)
Period:Edo period (1615–1868)
Date:late 1790s
Culture:Japan
Medium:Pair of hanging scrolls; ink and color on paper
Dimensions:Image (each): 44 9/16 × 17 13/16
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Moonlit Landscape
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Nagasawa Rosetsu 長澤蘆雪Japanese
Not on view
One of the most skillful and stylistically diverse ink painters of the late Edo period, Nagasawa Rosetsu has conjured up a moody, atmospheric scene of a mountain landscape illuminated by a moon, rendered in reserve. Wisps of cloud moving across the sky evoke a slightly eerie feeling and call to mind the representation of imaginary dragons of East Asian lore by Rosetsu and others. The bold silhouettes of pine trees contrast with gray washes created using a tsuketatefude 付立筆, a wide brush with long, flexible bristles, to create the contours of the mountainside without outlines. The painting would have been executed in multiple stages, allowing each layer of ink wash to completely dry before the next was applied. The upper expanse of the painting is entirely blank, except for the artist’s signature—cursorily inscribed with a moist brush—and the red accent of his double seal. The exaggeratedly elongated manner of writing Ro 蘆 of his name, as if it comprised two separate characters 艹 and 庵, is a frequently encountered idiosyncrasy of his late-career signature style.
Images of moonlit landscapes were a favorite subject of the a