December 18, 2020 | Blue Egyptian Water Lily
I read The Cairo Affair, by Olen Steinhauer, in August 2020, and there was mention of a blue Egyptian water lily (I can’t recall the context, however). The blue Egyptian water lily (Nymphaea nouchali var. caerulea, or previously Nymphaea caerulea), also known as blue lotus (or blue Egyptian lotus), is a water lily that “was known to the Ancient Egyptian civilization.” [x]
The plant and flower are very frequently depicted in Ancient Egyptian art. They have been depicted in numerous stone carvings and paintings, including the walls of the famous temple of Karnak, and are frequently depicted in connection with “party scenes,” dancing, or in significant spiritual or magical rites such as the rite of passage into the afterlife. King Tut’s mummy was covered with the flower. N. caerulea was considered extremely significant in Egyptian mythology, regarded as a symbol of the sun, since the flowers are closed at night and open again in the morning. At Heliopolis, the origin of the world was taught to have been when the sun god Ra emerged from a lotus flower growing in “primordial waters.” At night, he was believed to retreat into the flower again. Due to its colour, it was identified, in some beliefs, as having been the original container, in a similar manner to an egg, of Atum, and in similar beliefs Ra, both solar deities. As such, its properties form the origin of the “lotus variant” of the Ogdoad cosmogeny. It was the symbol of the Egyptian deity Nefertem. [x]
The image is “The Blue Egyptian Water Lily,” from The Temple of Flora, or Garden of Nature, engraved by Joseph Constantine Stadler (German, 1780–1822) and published by Robert John Thornton (British, 1768–1837). The MET Museum’s description for the image is as follows:
This delicately colored aquatint depicts blue Egyptian water lily (Nymphaea coerulea) rising from the waters of the Nile at Aboukir Bay, with palm trees and a mosque in the middle distance. The site would have reminded viewers of Nelson’s 1798 victory over the French fleet at the Battle of the Nile. Dr. John Thornton devoted his personal fortune to the project, which celebrated recent discoveries relating to floral reproduction by the Swedish naturalist Carl Linnaeus. Flowers from all corners of the globe are shown in native habitats (although costs allowed only thirty-two of a planned seventy prints to be published). Thirteen engravers worked from paintings and drawings supplied by botanical artists, the plates were etched using a combination of aquatint, stipple, and mezzotint, printed in color “à la poupée” then enhanced with watercolor additions. Size, composition, and sensitive coloring together suggest that these works hoped to raise botanical art to a level that rivaled more exalted genres.
[Painting titled “The Blue Egyptian Water Lily,” from The Temple of Flora, or Garden of Nature, downloaded from www.metmuseum.org]