Narcissus, Indicus, Liliaceo-Sphericus (1767-1768)
Ten ways of seeing
- broad 0.66 : 1
First Look
凡画山水，意在笔先。
—— 唐·王维《山水论》
In painting, the intention precedes the brush.
Broad and horizontal: the eye travels side to side. Find where it stops. 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
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
A layered bulb, upright strap leaves, six white tepals and a small golden cup — the Chinese name is 'silver terrace with a golden cup'.No colour group is recorded. A single plant, laid out with nothing hidden.
Composition
Broad and horizontal — the format for groups or a whole plant with its roots. No details are appended: a plate for looking, not for keying out. Old plates set the plant slightly off centre, with unequal margins — that small imbalance is what keeps it alive.
Line and Colour
Eighteenth-century plates are mostly copper engraving: hatched lines for shadow, then hand-colouring by another hand. 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
疑水仙游泳，向别浦相逢。
—— 《临江仙引·画舸》
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 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. Meanings change their tune: the same flower can say opposite things within a century.
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 1767 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
“La natura, e coltura de' fiori fisicamente esposta in due trattati con nuove ragioni, osservazioni, e sperienze” carries only Filippo Arena'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 1767.
