Rose and pink are pale reds, and pale reds were both technically awkward and slow to acquire names of their own.
The workable material was the lake, a dye precipitated onto an inert white base so that it can be used as a pigment. Madder lake, made from the madder root, is the classic rose lake of European painting, and it is a glaze: transparent, luminous over a light ground, and prone to fading in strong light. A great many pink passages in old paintings are now paler than they were, and some have gone entirely. Brazilwood lakes were cheaper and faded faster still.
The word itself is young. Pink in English named a plant, the garden pink, a Dianthus, before it named a colour, and the colour sense dates from around the seventeenth century. Before that a pale red was described as a pale red, or as rose, or by the name of the flower or fabric it resembled.
That lateness is the expected pattern. Pink sits with orange, purple, brown and grey among the basic colour terms that languages acquire after the primary set, and its arrival in English is documented in exactly the period the sequence predicts.
The modern association of pink with girls is more recent still. Early twentieth century sources in English speaking countries can be found recommending the opposite, pink for boys as a diminutive of red, and the current convention settled in the middle of the twentieth century. It is a marketing convention and not a tradition.