Mon Jardin a Ceylan Pl.070 (1896)

Twelve ways of seeing

• measured cast red
• upright 1.41 : 1
• published 1896
• Plate 70

Not a catalogue entry but a way of looking: how to stand, what to notice, how the line was cut, when it flowers, where it came from, who made it — and then the poems and the classics that taught China to see the same flower. Read the twelve in order and the plate opens.

1. 01

   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.

   The sheet is vertical: the eye climbs and settles in the upper half. Let the plant stand before you look for detail. Then step in close: watch where colour meets line, and whether the line ever breaks. Third, find where the green is deepest: the whole tonal order is measured from that patch. The pose leans left: the upper half carries 12 points further left than the lower — a living thing, not a diagram.

2. 02

   Name and Thing

   No reliable binomial survives, so the printed title must serve. Neither name nor binomial survives: the printed title must do.

3. 03

   Form and Colour

   Measured on this plate: flower colour covers 4.4% of the sheet, foliage 28.3%, the cast red with a second note of amber. No other plate shares exactly this measure. Tropical plants defy temperate habits: heavy, saturated flowers with strong scent, leathery or dissected leaves, stems that climb, swell, or reduce to spines. Filed under green — a moss green, a colour that comes mostly from leaf and stem. A single plant, laid out with nothing hidden.

4. 04

   Composition

   Tall and narrow, the plant rising in one movement with generous margins — the upright format of most floras. (about 1.41 : 1) No details are appended: a plate for looking, not for keying out. The plant takes about 34% of the sheet, centred near the centre — the easy measure most florists kept to. Cover the margins with your thumb and the plate suffocates; uncover them and the flower breathes again.

5. 05

   Line and Colour

   In the later nineteenth century chromolithography took over: colour printed rather than painted, line demoted. Decide first whether it was printed or painted; only then discuss whether it is beautiful.

6. 06

   Season

   The tropics have no four seasons, only wet and dry; flowering follows the first rains, so a month on the plate often means 'after the rain'. The year 1896 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. The best time to read such a plate is its flowering season: three minutes under the tree explains what no text can.

7. 07

   Provenance

   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 localities on the plate are those of a century ago; plants travel and places change their names.

8. 08

   The Book and the Hand

   “Mon Jardin a Ceylan” was drawn by George De Alwis and published 1896. This plate is Plate 70. The image is public domain; the hand-colouring is still one person's hand.

9. 09

   Poetic Resonance

   山城过雨百花尽，榕叶满庭莺乱啼。

   —— 唐·柳宗元《柳州二月榕葉落盡偶題》

   The poem gives the mood first and the picture supplies the form; set the line beside the plate and the green the corolla becomes its resting point.

10. 10

    The Written Tradition

    投我以木瓜，报之以琼琚。匪报也，永以为好也。

    —— 《诗经·卫风·木瓜》

    You toss me a quince, I return a jade pendant — not as payment, but so that we may be friends for ever.

    Ji Han's fourth-century Records of the Plants of the South is China's earliest regional flora; Europe's counterpart was the exotic flora brought home by voyages — both by-products of empire and trade. The difference is not of quality but of question: Europe asks what it is, China asks whom it resembles.

11. 11

    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. Flower language was added later; the flower knows nothing of it, and that innocence is part of its power.

12. 12

    What to Take Away

    Appreciation is not knowledge but habit — one more look each time. A flora exists to be consulted; look long enough and you forget to consult — someone in 1896 gave a whole day to a single flower.