Atlas da Fauna do Brasil Pl.10 (1917)
Ten ways of seeing
- square 0.78 : 1
First Look
江馆清秋，晨起看竹，烟光日影露气，皆浮动于疏枝密叶之间。
—— 清·郑板桥《题画竹》
On an autumn morning at the river lodge I looked at the bamboo: mist, sunlight, dew, all drifting among the sparse and dense leaves.
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
Tropical plants defy temperate habits: heavy, saturated flowers with strong scent, leathery or dissected leaves, stems that climb, swell, or reduce to spines.No colour group is recorded. Read the outline, then the colour layers, then the brush.
Composition
Nearly square, plant and details sharing the corners. No details are appended: a plate for looking, not for keying out. Blank paper is not unfinished work: it is where the eye rests.
Line and Colour
After 1900 photography and colour reproduction ran alongside watercolour: accuracy rose, the cut of the burin disappeared. Decide first whether it was printed or painted; only then discuss whether it is beautiful. If you mean to copy it: this is a photomechanical record — match the colours directly, do not imitate the printing grain.
Poetic Resonance
日啖荔枝三百颗，不辞长作岭南人。
—— 宋·苏轼《食荔枝》
Three hundred lychees a day — I would not mind being a southerner all my life.
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
In China these plants carry no classical symbolism; their meaning is newness — new worlds, new species, new trade routes. They show natural history's expanding edge. Meanings change their tune: the same flower can say opposite things within a century.
Season and Place
The tropics have no four seasons, only wet and dry. Central and South America, Southeast Asia, India, Ceylon. Eighteenth- and nineteenth-century artists either sailed with the ships or drew from living specimens under glass. The year 1917 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
“Atlas da Fauna do Brasil” carries only Rodolpho von Ihering'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
Carry three rules away: whole before detail; line before colour; picture before book. The flower of that year is dust, yet its image on paper has outlived every living cousin.
