Roses of Sharon c. 1820 - 1859

Editor: This is Nakajima Raisho's "Roses of Sharon," made sometime between 1820 and 1859. It's a watercolor and ink print, so delicate. The text that surrounds the rose draws my eye – what’s your first impression of how the visual and the written language relate? Curator: The presence of text *as* image, and image *with* text, immediately establishes the integration of word and world, something central to an iconographer’s view. Think of medieval illuminated manuscripts, or even tantric diagrams - script becomes imbued with a powerful presence beyond simple meaning. What feelings does this integration stir in you? Editor: A sense of learnedness and artistry blending effortlessly. It seems almost meditative. Is there a specific significance to roses of Sharon in Japanese art and culture? Curator: Indeed. These roses, often symbols of feminine beauty and transience, appear frequently in ukiyo-e prints and poetry, embodying a poignant, fleeting moment. Here, the plant and poetry elevate the feeling of *mono no aware* – the pathos of things – wouldn't you agree? The imagery hints at larger cycles, the ephemerality of existence. Editor: Definitely, it makes you consider the life cycle and its connection to us. How interesting that flowers are used as symbols that remind us of our limited time here on Earth. Curator: The pairing of image and script is no accident. Both point to a larger human endeavor, connecting through seeing and speaking and marking the world. What lessons do you carry away with you from the encounter with Nakajima’s artwork? Editor: The profound interplay between image and language has made me view it not just as art, but also as a visual poem, speaking about time and beauty in ways words alone cannot. Curator: Precisely. Symbols like the rose invite reflection upon human memory and continuity.