Strelitzia Reginae

Twelve ways of seeing

One plate, read twelve times over: its name, its colour, the burin and the brush, the shape of the sheet, the season, the soil it came from, the book it belongs to, its language of flowers, the poem it answers to, the lore behind it, how to look, and what remains.

1. 01

   The Name

   The plate is titled “Strelitzia Reginae”, numbered Plate 18. Its binomial is Strelitzia reginae: the genus places it among its kin, the epithet records a place, a shape or a person. No established Chinese name exists for this plate, so it is cited by its binomial alone.

2. 02

   Form and Colour

   A bulb of overlapping fleshy scales gives the lily its Chinese name, 'hundred-fold'; six tepals reflex as the flower opens, around six stamens with long, T-shaped anthers. No colour group is recorded for this plate, but the palette still belongs to its season. Three things fix the habit: leaf arrangement, tepal count, and how the flower is borne.

3. 03

   Line and Colour

   The first half of the nineteenth century moved from copper to steel to lithography. Stipple could render the softest transition — Redouté's roses depend on it — while lithography suited broad, gentle washes. Look closely at the line and the colour: an unbroken line means engraving, colour crossing the outline by half a millimetre means hand-colouring. Craft leaves franker evidence than inscriptions.

4. 04

   Composition

   Tall and narrow, the plant rising in one movement with generous margins above and below — the upright format of most floras. (about 1.59 : 1). No details are appended: this is a plate for looking, not for keying out.

5. 05

   Season

   Early to high summer, June and July; the flowers last only days, so artists drew them just as they opened. The year 1802 on the plate is the year of publication, not of flowering — the gathering came a year or two earlier.

6. 06

   Provenance

   Temperate north — China, Japan, Europe. Long used in Chinese medicine, lilies were hunted in East Asia by nineteenth-century collectors and transformed European gardens. In the same volume the kin are shelved together; set several plates side by side and the differences declare themselves.

7. 07

   The Book

   “The Liliaceae - Volume Two” was drawn by Pierre-Joseph Redouté and published 1802-1816. This plate is Plate 18. The image is in the public domain; the hand-colouring on the paper is still one person's hand, two centuries ago.

8. 08

   Symbolism

   In the West the white lily is Marian purity, held by the angel of the Annunciation; in China the name sounds like 'a hundred years in harmony', a wedding wish. In a flora it is a species first and a symbol second; the order is worth keeping.

9. 09

   Poetic Resonance

   梨花淡白柳深青，柳絮飞时花满城。

   —— 宋·苏轼《东栏梨花》

   Pear blossoms pale white, willows deep green; when the catkins fly, flowers fill the town.

   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.

10. 10

    Classical Lore

    The Bencao Gangmu describes the bulb as garlic-like, edible and medicinal; Song writers already noted that the leaves vary while the flowers stay white. Chinese flower books ranked plants by character; European floras described them by form and name. This plate belongs to the second tradition, yet bears reading by the first. Printed in 1802, at the moment the two traditions began to see each other.

11. 11

    How to Look

    Watch how far the tepals reflex, and the anther colour: green before opening, brown as the flower fades. A sectioned bulb is the mark of a botanical plate. Stand back for the habit, step close for the meeting of line and colour.

12. 12

    Afterword

    A flora exists to be consulted; look long enough and you forget to consult — someone in 1802 gave a whole day to a single flower.