buy tall snake plant Zeylanica Snake Plant 'Sansevieria zeylanica' 1 Gal. / Teal / With Pot
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buy tall snake plant

buy tall snake plant Zeylanica Snake Plant 'Sansevieria zeylanica' 1 Gal. / Teal / With Pot

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buy tall snake plant Zeylanica Snake Plant 'Sansevieria zeylanica' 1 Gal. / Teal / With PotIntroducing the Zeylanica Snake Plant, known as 'Sansevieria zeylanica,' a low maintenance snake plant belonging to the Sansevieria genus. The Sansevieria zeylanica has several other common names, such as Ceylon Bowstring Hemp, Vipers Bowstring Hemp, Snake Plant, Mother in Law's Tongue, or Snake Plant, and is very similar to the Sansevieria trifasciata. For its modern look and easy care, the Sansevieria zeylanica snake plant is very popular among

Introducing the Zeylanica Snake Plant, known as 'Sansevieria zeylanica,' a low-maintenance snake plant belonging to the Sansevieria genus. The Sansevieria zeylanica has several other common names, such as Ceylon Bowstring Hemp, Vipers Bowstring Hemp, Snake Plant, Mother-in-Law's Tongue, or Snake Plant, and is very similar to the Sansevieria trifasciata. 


For its modern look and easy care, the Sansevieria zeylanica snake plant is very popular among gardeners.

The Sansevieria zeylanica has long, sword-shaped leaves that grow upright and can grow up to 3–4 feet tall and 2 feet wide.

The leaves are a vibrant shade of green, with light gray-green horizontal stripes running along their length.

This unique pattern adds visual interest and makes it a standout addition to any indoor space.

The flowers of the Sansevieria zeylanica snake plant have tall spikes with small, tubular flowers, typically greenish white, pale green, or cream, that bloom from spring to summer. However, it's worth noting that indoor-grown Sansevieria zeylanica plants rarely flower. These snake plants are more popular for their striking foliage than for their blooms. 

Native to tropical West Africa, the Sansevieria zeylanica plant thrives in bright light to partial shade, making it ideal for indoor spaces. It releases oxygen at night, purifying the indoor air by removing harmful chemicals like formaldehyde and xylene and providing a fresh burst of oxygen while you sleep, making it an excellent addition to your bedroom.

When and How to Water Your Sansevieria zeylanica 

Sansevieria zeylanica is a drought-tolerant succulent that stores moisture in its thick, upright leaves. This adaptation allows it to thrive in dry indoor conditions and makes it very forgiving if you forget to water occasionally. Always let the soil dry out completely between waterings; keeping the roots too wet can lead to rot. This snake plant prefers watering once every 10-14 days in spring and summer, and once a month in the dormant season. 

In the spring and summer, during its active growing season, your Zeylanica will use more water and benefit from deeper but infrequent watering once every 10-14 days. Be sure to adjust your schedule based on the temperature, light, and container size, especially if the plant is receiving bright indirect sun.

In the cooler months or winter, growth slows down and the plant enters a semi-dormant state. At this stage, reduce watering significantly; sometimes as little as once a month is sufficient. Overwatering in winter is one of the most common causes of decline in snake plants, so err on the dry side.

Watch for signs of dehydration in your Sansevieria zeylanica succulent, such as a pale discoloration and the leaves starting to shrivel. This indicates that it's consuming the water stored in its interior. 

Light Requirements - Where to Place Your Zeylanica Snake Plant

When growing indoors, Sansevieria zeylanica can thrive in moderate-to-bright indirect light for at least 6-8 hours a day, such as near a window with filtered sunlight. However, it can also tolerate lower light conditions, like those found in offices or rooms with less natural light.

Just keep in mind that if you place it in a low-light area, your Sansevieria zeylanica may grow more slowly and have less vibrant foliage.

If growing outdoors in warm, frost-free climates, Zeylanica does best in partial shade or dappled sunlight for 4–6 hours of filtered sunlight daily under a pergola or tree canopy. Avoid placing it in direct midday sun, especially in hot zones, as this can scorch or bleach the foliage. 

Remember, it's always a good idea to observe your Sansevieria plant and adjust its lighting conditions accordingly. If you notice the leaves turning yellow or pale, it may be an indication that they're receiving too much direct sunlight. If the leaves become dark green and start to stretch towards the light, it may be a sign that they need more indirect light.

Optimal Soil & Fertilizer Needs 

The Sansevieria zeylanica favors very airy, sandy soil that drains well, and should be fertilized once a year in spring. Planting them in ordinary potting soil will result in compacted roots, stunted growth, and, most likely, root rot. To prevent overwatering, use a terracotta pot with a drainage hole. Instead, make or buy a well-draining succulent potting mix, or ideally, use our specialized potting mix that contains organic mycorrhizae to promote the development of a strong root system that helps your succulent thrive.

When it comes to fertilizing these house plants, organic fertilizers with an equal ratio of 5-10-5 (NPK) also last longer and keep your soil alive by adding other beneficial compounds and microbes that encourage plant health and nutrient absorption. So, skip those harsh chemicals (too much fertilizer) and give your tropical plants some love with some awesome organic fertilizer! 

Hardiness Zones & More

In the United States, this snake plant is mostly an indoor plant, but if you live in southern Florida or Hawaii, then you can cultivate it outdoors in USDA zones 9-11.

If you live in a colder climate outside of these hardiness zones, it's best to keep your Sansevieria zeylanica indoors or treat it as a container plant that you can move indoors during the colder months. 

Remember, this snake plant prefers warmth, so if you do decide to bring it outdoors during the summer months, make sure to place it in a shaded area to protect it from intense sunlight and provide adequate humidity.

The Sansevieria zeylanica is a relatively low-maintenance plant and can tolerate average indoor humidity levels, which are typically around 40–60%. However, it can also adapt to lower humidity levels without any major issues. So, you don't need to worry too much about providing specific humidity conditions for this snake plant.

How to Best Grow Sansevieria zeylanica Indoors

When growing indoors, your Sansevieria zeylanica can thrive in temperatures between 60°F and 85°F. However, it can tolerate slightly cooler temperatures down to 50°F and warmer temperatures up to 90°F. Just be mindful that extreme temperature fluctuations or prolonged exposure to very low or high temperatures can stress the Sansevieria plant.

Wildlife - Sansevieria zeylanica Attracts the Following Friendly Pollinators

The Zeylanica Snake Plant is known to attract bees, butterflies, and hummingbirds with its vibrant flowers and sweet nectar. These pollinators play a crucial role in the plant's reproduction and overall ecosystem health.

Butterflies
Bees
Hummingbirds
Lady Bugs
Multi Pollinators
Other Birds

According to the ASPCA, Sansevieria zeylanica is mildly toxic to both cats and dogs. They contain saponins, which can cause gastrointestinal upset if ingested in large amounts. However, it is safe to touch and handle, making it a popular choice for pet owners looking for a low-maintenance houseplant option.

How to Propagate Your Sansevieria zeylanica Snake Plant

The Sansevieria zeylanica snake plants can be propagated through division or leaf cuttings. To propagate through division, carefully separate the plant into smaller sections with roots attached and replant them in new pots with well-draining soil. For leaf cuttings, simply cut a healthy leaf into smaller sections and plant them in soil to encourage new growth.

Key Takeaways

  1. Sansevieria zeylanica is highly drought-tolerant, storing water in its thick, upright leaves and requiring minimal watering to stay healthy.
  2. This plant can thrive in low-light conditions, making it an excellent choice for offices, bedrooms, and other indoor spaces with limited sunlight.
  3. Sansevieria zeylanica helps improve indoor air quality by filtering out toxins like formaldehyde, benzene, and xylene.
  4. The plant is known for its toughness and resilience, tolerating neglect, temperature fluctuations, and most common houseplant pests.
  5. Its bold, sword-like foliage features silver-green, wavy patterns, adding a modern, sculptural element to home or office decor.

The Bottom Line

Overall, Sansevieria zeylanica is a fantastic snake plant for both indoor and outdoor gardening. With its sword-shaped leaves and low-maintenance nature, it can tolerate lower humidity levels and is suitable for USDA hardiness zones 9–11. Its striking appearance, air-purifying qualities, and resilience make it a popular choice. Whether you're a beginner or an experienced plant enthusiast, the zeylanica snake plant is a great addition to any collection. So, if you're looking for a beautiful and easy-to-care-for plant, give Sansevieria zeylanica a try!

Related Products

You may also like the other popular snake plant varieties, including the moonshine snake plant, the mother-in-laws snake plant, the Cylindrical snake plant, and the snake plant laurentii.
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Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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