The Meadow brown Butterfly (Papilio jurtina), The Water Elder (Viburnum opulus) (1773)
莽眼蝶、鳞翅目、荚蒾科
The Meadow brown Butterfly (Papilio jurtina), The Water Elder (Viburnum opulus) (1773)
Ten ways of seeing
- measured cast amber
- slightly upright 1.26 : 1
First Look
夫象物必在于形似，形似须全其骨气。
—— 唐·张彦远《历代名画记》
Likeness is the threshold; bone-and-breath is the point.
Slightly taller than wide; the eye lands on the bird's head, a little above centre. 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 Papilio is given; species-level names came later. No established Chinese name exists, so it is cited by its binomial alone.
Form and Colour
Measured on this plate: flower colour covers 6.8% of the sheet, foliage 19.0%, the cast amber with a second note of yellow-green. No other plate shares exactly this measure. Insect plates show the host plant and all four stages at once — egg, larva, pupa, adult — with wing venation, scales and antennal segments accounted for: the most technical branch of natural-history art.No colour group is recorded. Read the outline, then the colour layers, then the brush.
Composition
The sheet is slightly tall. No details are appended: a plate for looking, not for keying out. The plant covers only 28% of the sheet, centred below centre; the emptiness is where the eye rests.
Line and Colour
Eighteenth-century plates are mostly copper engraving: hatched lines for shadow, then hand-colouring by another hand. 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: 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
儿童急走追黄蝶，飞入菜花无处寻。
—— 宋·杨万里《宿新市徐公店》
Children run after a yellow butterfly; it flies into the rapeseed bloom and cannot be found.
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the bird itself becomes its resting point.
Symbolism
In China the butterfly is dream and lovers, the cicada purity, the firefly a lamp for reading; in Europe the insect began as specimen before it became symbol. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
Set by life stage: butterflies in spring and summer, moths into autumn, beetles from May to July. Four stages on one sheet span a whole year. Merian's Metamorphosis Insectorum Surinamensium (1705) first showed insect stages with their host plants — the result of raising caterpillars in the Surinam forest with her daughters. The year 1773 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. Much of what that generation knew of such birds came from specimens and cages; read locality and season both as hearsay.
The Book and the Hand
“One hundred and twenty copper-plates of English moths and butterflies” carries only Benjamin Wilkes's name. The image is public domain; the hand-colouring is still one person's hand.
What to Take Away
Carry three rules away: whole before detail; line before colour; picture before book. Two centuries on, the plant may still flower in some garden; the one on this sheet stopped in the season of 1773.
About this plate
The Meadow brown Butterfly (Papilio jurtina), The Water Elder (Viburnum opulus) (1773) is plate 101, from One hundred and twenty copper-plates of English moths and butterflies, drawn by Benjamin Wilkes. This public-domain plate is reproduced at high resolution, free to view and download. Publication: London, Benjamin White at Horace's-Head, 1773.
