Laella elegans var houtteana
Laella elegans var houtteana
Laella elegans var houtteana
Ten ways of seeing
- measured cast red
- broad 0.72 : 1
First Look
六法者何？一、气韵生动是也；二、骨法用笔是也；三、应物象形是也；四、随类赋彩是也；五、经营位置是也；六、传移模写是也。
—— 南齐·谢赫《古画品录》
The six laws: spirit resonance alive; bone-method in the brush; matching form; colour by kind; planning the placing; copying the masters.
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 where the red is deepest: the whole tonal order is measured from that patch.
Name and Thing
The binomial is Laella elegans: the first word is the genus it belongs among, the second the epithet that sets it apart. Here the epithet elegans means “elegant” — the name records the feature the namer noticed first. No established Chinese name exists, so it is cited by its binomial alone.
Form and Colour
Measured on this plate: flower colour covers 18.1% of the sheet, foliage 8.4%, the cast red with a second note of amber. No other plate shares exactly this measure. Camellias are evergreen shrubs with thick, waxen, serrate leaves; the double flowers overlap like roof tiles and fall whole, petals still attached. Filed under red — a red close to carmine, built in washes from a pale ground. Read the outline, then the colour layers, then the brush.
Composition
The sheet is broad. No details are appended: a plate for looking, not for keying out. The plant fills 43% of the sheet, centred above centre — the herbarium way, drawn to be read whole.
Line and Colour
In the later nineteenth century chromolithography took over: colour printed rather than painted, line demoted. 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: block in the broad shapes and colours first, detail last; lithographic softness comes from thin washes — two or three pale layers will get you close.
Poetic Resonance
自立冬，将残腊，雪片似江梅，血点般山茶。
—— 《双调·新水令·题西湖四时》
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the red the corolla becomes its resting point.
Symbolism
In China the camellia is the friend that endures; in Europe it became Eastern beauty and unattainability, and after La Dame aux Camélias, a token of brief life. This plate leans red, which in flower language adds one more degree of feeling. Meanings change their tune: the same flower can say opposite things within a century.
Season and Place
Late winter into early spring, blooming in the cold of the first lunar month. Southwest China and Japan, with Yunnan the centre of diversity. The year 1885 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. Read the locality and the flowering season both with a discount: one is hearsay, the other a ten-day peak.
The Book and the Hand
“Lindenia: Iconography of the Orchids” carries only Jean Jules Linden's name. A plate is collective work: drawer, engraver and colourist were different hands, and the unnamed ones decided how good it looks.
What to Take Away
If you keep one line, keep Guo Xi's: from afar its momentum, up close its texture. The flower of that year is dust, yet its image on paper has outlived every living cousin.
About this plate
Laella elegans var houtteana is plate 91, from Lindenia: Iconography of the Orchids, drawn by Jean Jules Linden. This public-domain plate is reproduced at high resolution, free to view and download. Publication: Gand [Belgium] :Impr. F. Meyer-van Loo,1885-1906.
