Munvätepäron (1924)
Svenska Frukísorter Iuppl. PI. 59 TMlunvälepäron Mäl af Henriette Sjöberé Haæggström Lit
About this plate
Munvätepäron (1924) is plate 15, from Swedish fruit varieties (Svenska fruktsorter), drawn by Henriette Sjöberg. This public-domain plate is reproduced at high resolution, free to view and download. Publication: Stockholm, P. A. Norstedt & Söners Förlag, 1924.
Ten ways of seeing
- measured cast yellow-green
- upright 1.30 : 1
- published 1924
- Plate 15
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.
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 the darkest small patch: the whole tonal order is measured from there. The pose leans right: the upper half carries 14 points further right than the lower — a living thing, not a diagram.
Name and Thing
No reliable binomial survives, so the printed title must serve. Neither name nor binomial survives: the printed title must do.
Form and Colour
Measured on this plate: flower colour covers 10.8% of the sheet, foliage 0.3%, the cast yellow-green with a second note of amber. No other plate shares exactly this measure. Fruit plates pair the whole fruit with a section: the outline identifies the variety, the cut reveals skin thickness, core size and seed arrangement — the evidence of registration.No colour group is recorded. A single plant, laid out with nothing hidden.
Composition
Tall and narrow, the plant rising in one movement with generous margins — the upright format of most floras. (about 1.30 : 1) No details are appended: a plate for looking, not for keying out. The plant covers only 16% of the sheet, centred a little left of centre; the emptiness is where the eye rests. Cover the margins with your thumb and the plate suffocates; uncover them and the flower breathes again.
Line and Colour
After 1900 photography and colour reproduction ran alongside watercolour: accuracy rose, the cut of the burin disappeared. Craft leaves franker evidence than inscriptions. If you mean to copy it: this is a photomechanical record — match the colours directly, do not imitate the printing grain.
Poetic Resonance
一年好景君须记，最是橙黄橘绿时。
—— 宋·苏轼《赠刘景文》
Remember the best of the year: the time of yellow oranges and green tangerines.
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the fruit becomes its resting point.
Symbolism
In China the pomegranate means many sons, the peach long life, the orange good fortune; in Europe the apple is temptation and knowledge, the grape abundance and sacrifice. Meanings change their tune: the same flower can say opposite things within a century.
Season and Place
Late summer into autumn, variety by variety. Temperate fruits came mostly from Eurasia, later from the Americas. Nineteenth-century nurseries printed varietal albums for trade and exhibition: every fruit on the page was a saleable claim. The year 1924 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
“Swedish fruit varieties (Svenska fruktsorter)” was drawn by Henriette Sjöberg and published 1924. This plate is Plate 15. The image is public domain; the hand-colouring is still one person's hand.
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.
