The eighteenth century witnessed an unprecedented convergence between image-making and knowledge production across Eurasia. In Europe, natural history emerged as a systematic enterprise grounded in observation, classification, and visual documentation. The development of illustrated botanical and zoological treatises-culminating in the taxonomic system of Carl Linnaeus-transformed images into indispensable tools for organizing the natural world. At the same time, in Qing imperial China, court painting reached a new level of refinement under the Yongzheng and Qianlong emperors, producing works of extraordinary precision and visual subtlety. By proposing the framework of dual natural histories, this paper highlights the plurality of ways in which humans have sought to understand the natural world. Wu Zhang's flower paintings, far from being marginal or purely decorative, emerge as vital contributions to a global history of knowledge. They remind us that images can do more than classify and control; they can also connect, resonate, and bring the world into presence.