Twee tulpen met onbekende bloeiende plant Plumage da Costa Buspolo (1637)
木兰纲、柔羽圆尾鹱
Twee tulpen met onbekende bloeiende plant Plumage da Costa Buspolo (1637)
Ten ways of seeing
- measured cast crimson
- square 0.82 : 1
First Look
真山水之川谷，远望之以取其势，近看之以取其质。
—— 宋·郭熙《林泉高致·山水训》
Mountains and valleys: from afar take their momentum, up close take their texture — the two distances from which any picture is read.
Nearly square, plant and detail each holding a corner. Then step in close: watch where colour meets line, and whether the line ever breaks. Third, find the darkest small patch: the whole tonal order is measured from there.
Name and Thing
No reliable binomial survives, so the printed title must serve. Neither name nor binomial survives: the printed title must do.
Form and Colour
Measured on this plate: flower colour covers 8.5% of the sheet, foliage 1.9%, the cast crimson with a second note of red. No other plate shares exactly this measure. Flowering trees and shrubs put out branches first; blossoms open before or with the leaves, usually five thin, translucent petals around a cluster of fine stamens.No colour group is recorded. Read the outline, then the colour layers, then the brush.
Composition
The sheet is square. No details are appended: a plate for looking, not for keying out. The plant covers only 16% of the sheet, centred near the centre; the emptiness is where the eye rests.
Line and Colour
Before 1700 most botanical figures came from woodcut: thick, hard lines in relief, colour brushed on afterwards. Take a loupe to three places: petal edge, leaf vein, caption. An unbroken line means engraving; colour crossing the outline means a hand. If you mean to copy it: take its skeleton, its margins and the order of its colours; the burin's hatching is the language of copper — suggest it with pencil density, do not imitate it stroke for stroke.
Poetic Resonance
去时节杨柳西风秋日，如今又过了梨花暮雨寒食。
—— 《杂剧·迷青琐倩女离魂》
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the corolla becomes its resting point.
Symbolism
Plum is solitude, peach is marriage, apricot is spring itself, crabapple is a fragile fate; the hibiscus, opening at dawn and falling at dusk, is impermanence. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
Mid spring: plum first, then peach and apricot, cherry last — the season keeps its order. cherry and crabapple went east to Japan and west to Europe. The year 1613 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. The bud and the ripe fruit on one branch tell the season; the name in the title often tells the journey.
The Book and the Hand
“Jacob Marrel” carries only Jacob Marrel's name. From drawing to plate the sheet passed through several hands — the engraver aimed at accuracy, the colourist at speed, and between them lies each plate's unevenness.
What to Take Away
Next time you stand before a flowering plant, give it three minutes: leaf arrangement, direction of the flower, the darkest patch. Two centuries on, the plant may still flower in some garden; the one on this sheet stopped in the season of 1613.
About this plate
Twee tulpen met onbekende bloeiende plant Plumage da Costa Buspolo (1637) is plate 86, from Jacob Marrel, drawn by Jacob Marrel. This public-domain plate is reproduced at high resolution, free to view and download. Publication: German, 1613-1681.
