Tenjin Traveling to China 1787 - 1788

Editor: Here we have Nagasawa Rosetsu's "Tenjin Traveling to China," painted around 1787 using ink and tempera. I'm struck by its tranquility; there’s a peacefulness in the figure's stance and the gentle washes of color. What really captures your attention when you look at this work? Curator: Oh, this piece sings to me of journeys, both literal and metaphorical. Rosetsu masterfully captures Tenjin, not as a static deity, but as a traveler, an intellectual wanderer, clutching a plum branch. It makes me wonder about the voyage. Do you feel it's just geographical, or perhaps internal as well? That faraway gaze suggests something beyond just sightseeing, doesn't it? Editor: Definitely. It feels like a journey of the mind. What about the plum blossom? Does that have significance beyond being a pretty detail? Curator: Ah, the plum blossom! It’s not merely decorative; it’s a symbol of resilience, of blooming even in the harshness of winter. Tenjin, who was Sugawara no Michizane, a scholar exiled and later deified, faced quite a winter himself. The blossom could allude to his unwavering spirit amidst adversity, don't you think? It certainly spices things up, layering the piece with his essence. Editor: That adds so much depth! It's no longer just a portrait, but a commentary on perseverance and scholarship. Thanks, I feel like I’m starting to understand a little more about Tenjin now. Curator: My pleasure! See how a simple image can unravel so many fascinating narratives? That, my dear friend, is the beauty of art, a playground of possibilities.