A Bouquet of Roses, Tulips and Narcissus on Sandy Ground (1871)
千屈菜、郁金香属
A Bouquet of Roses, Tulips and Narcissus on Sandy Ground (1871)
Ten ways of seeing
- measured cast amber
- square 1.01 : 1
First Look
搜尽奇峰打草稿。
—— 清·石涛《苦瓜和尚画语录》
Exhaust the strange peaks, and then make the sketch.
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 where the orange is deepest: the whole tonal order is measured from that patch.
Name and Thing
Only the genus Narcissus is given; species-level names came later. No established Chinese name exists, so it is cited by its binomial alone.
Form and Colour
Measured on this plate: flower colour covers 56.2% of the sheet, foliage 11.8%, the cast amber with a second note of yellow-green. No other plate shares exactly this measure. A layered bulb, upright strap leaves, six white tepals and a small golden cup — the Chinese name is 'silver terrace with a golden cup'. Filed under orange — an amber orange, built in washes from a pale ground. 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 fills 78% of the sheet, centred near the centre — the herbarium way, drawn to be read whole.
Line and Colour
The first half of the nineteenth century moved from copper to steel to lithography; stipple could render the softest transition. There is evidence on the back too: the plate mark pressed into the paper, the slight relief of the pigment, lines worn shallow in a later printing. 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
应有水仙潜出听，飜将唱作步虚词。
—— 唐·白居易《江上吟元八绝句》
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the orange the corolla becomes its resting point.
Symbolism
In China it is the New Year's offering — clear, fragrant, a little otherworldly; in Europe, because of Narcissus, it means self-love and the gaze turned inward. This plate leans orange, which in flower language adds one more degree of feeling. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
Late winter into early spring: forced in water in the twelfth month, blooming at the New Year. Zhangzhou in Fujian has grown it since Ming times. The year 1818 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
“Josef Lauer” carries only Josef Lauer'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
Appreciation is not knowledge but habit — one more look each time. Two centuries on, the plant may still flower in some garden; the one on this sheet stopped in the season of 1818.
About this plate
A Bouquet of Roses, Tulips and Narcissus on Sandy Ground (1871) is plate 9, from Josef Lauer, drawn by Josef Lauer. This public-domain plate is reproduced at high resolution, free to view and download. Publication: Austrian, 1818–1881.
