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美洲蜂鸟属·Amazilia Riefferia

Amazilia Riefferia

Amazilia Riefferia

Rieffer’s Amazili

Pl. 311, Vol. V · p.311 · 1861 · Gould's Hummingbirds · · 1849-1887

中文名
美洲蜂鸟属·Amazilia Riefferia
学名
Amazilia Riefferia
合集
古尔德蜂鸟图谱
绘者
John Gould(约翰·古尔德)
年代
1861
图版号
Pl. 311, Vol. V
原书页码
p.311
授权
CC0 1.0 Universal (Public domain)

关于本图版

本图选自约翰·古尔德的《古尔德蜂鸟图谱》(Gould's Hummingbirds),原书 1849—1887 年间出版。图中描绘的是美洲蜂鸟,学名 Amazilia Riefferia,在分类体系中列于蜂鸟科(Trochilidae)。

该合集全编共 421 幅图版,此图为其中之一,图版编号 Pl. 311, Vol. V,对应原书第 311 页,版式为纵幅。图为公有领域原件的修复扫描,构图与设色未经改动。

原书文字(英文 / 法文)

Southern Mexico, Guatemala, and along the Andes to Ecuador

In a tray now before me I have twenty-five skins of Humming-Birds, all belonging, I believe, to one and the same species, the Amazilia Riefferi.

These twenty-five specimens are from various localities extending over many degrees of latitude—that is, from the southern parts of Mexico to the confines of Peru. I believe that every part of the high lands which occur between the limits mentioned is frequented by this bird, either as a migrant or a resident. To particularize the localities on the labels attached to my specimens, I may mention Cordova, Guatemala, Honduras, Costa Rica, Veragua, Bogota, and Guayaquil. The specimens from some of these localities are found to differ slightly in colouring from those procured in others of them; the differences, however, are very trifling, and not greater than the local variations observable in a hundred other instances, and consequently are not of sufficient importance to justify their separation into distinct species.

My learned friend and coadjutor M. Bourcier considered the Honduras bird to differ from the others sufficiently to warrant its being regarded as another species, and fixed, I believe, upon the bronzy fringing of the tail-feathers as his principal character; but I can assure him that this will not hold good, for I have specimens of A. Riefferi, from Bogota and elsewhere, presenting precisely the same feature. I make this remark with the typical specimen from which he took his description before me, and which he has kindly sent to this country, with many others, for the promotion of this work; the name of Dudusi, then—the term applied by M. Bourcier to this supposed new bird—must sink into a synonym. Even if it were otherwise, the name of Dubusi must give place to that of fuscicaudatus of Fraser, whose description was taken from Honduras specimens; in truth, that name was proposed before that of Riefferi,—a fact with which I was unacquainted when my Plate of this species was printed.

There is one peculiarity in the colouring of the Amazilia Riefferi by which it may be at once distinguished from every other known Humming-Bird; this is, a little red mark on the lores, or the space between the bill and the eye. I need scarcely say that I find this in M. Bourcier’s A. Dubusi; it is not, however, so conspicuous as in some of my specimens, and for this reason,—the bird is, I think, a female, and the mark is not so apparent in that sex as in the male. Of its habits and economy but little has been recorded. Mr. Bridges found it feeding on a Malvaceous plant near the Boqueti, at an elevation of four thousand feet; Mr. Salvin met with it at Coban in November, and also near Yzabal, and remarked that it was far from common at Coban, and that all the specimens he procured appeared to be males; and Mr. Fraser noticed it feeding from the bark of a large tree in the forest of Babahoyo in Ecuador, and states that when he arrived in Esmeraldas in October it was by no means uncommon, feeding morning and evening round the eaves of the house; in November it was very scarce, and in December not to be seen.

Crown of the head, all the upper surface, and wing-coverts bronzy green, darkest on the crown; wings dark purplish brown; upper tail-coverts and tail deep reddish chestnut, narrowly fringed above, and more broadly beneath, with golden bronze, the golden fringing being much darker in some specimens than in others, particularly on the upper side of the tail; throat and breast luminous grass-green; abdomen and flanks bronzy green, passing into pale brown towards the vent; under tail-coverts rufous, with lighter edges; bill fleshy brown, with a blacker tip; irides dark hazel; feet brown.

The figures are of the natural size. The plant is the Odontoglossum hastilabium.

References

  • Trochilus Riefferi, Bourc. Rev. Zool. 1843, p. 103.—Ib. Ann. Sci. Phys. &c. de Lyon, 18438, p. 45.
  • Amazilius riefferi, Bonap. Consp. Gen. Av., p. 78, Amazilius, sp. 10.—Ib. Rev. et Mag. de Zool. 1854, p. 254.—Sclat. in Proce. of Zool. Soc., part xxvii. p. 145.
  • Amazilia Riefferi, Reichenb. Auf. der Col., p. 10.—Sclat. in Proc. of Zool. Soc., part xxiv. p. 140, part xxv. p. 16, and part xxviii. pp. 283, 296.—Salv. in Ibis, vol. ii. p. 270.
  • Polytmus Riefferi, Gray and Mitch. Gen. of Birds, vol. i. p. 108, Polytmus, sp. 72.
  • Trochilus Dubusii, Boure. Rev. Zool. 1852, p.
  • Amazilia Dubusii, Reichenb. Auf. der Col., p. 10.
  • Amazilius dubusi, Bonap. Rev. et Mag. de Zool. 1854, p. 254.—Sclat. in Proc. of Zool. Soc., part xxiv. p. 287.—Ib. Proc. of Zool. Soc., part xxvii. p. 386.
  • Trochilus fuscicaudatus, Fras. in Proc. of Zool. Soe., part vii. p. 17.
  • Hylocharis fuscicaudatus, Gray and Mitch. Gen. of Birds, vol. i. p. 114, Hylocharis, sp. 26.

十二观

  • 纵幅 1.38∶1
  • 1861 年刊
  • 图版 311, Vol. V

这不是词条,是一条看画的次序:先站定看整体,再看名字与形色、构图与刀工,然后问它几时开、从哪里来、经了谁的手;最后是中国诗文——同一朵花,中国古人是怎么看的。十二观读完,这幅图就打开了。

  1. 第一眼

    凡画山水,意在笔先。

    —— 唐·王维《山水论》

    下笔之前,心里已经有了整幅画。看画时可以反过来推:画家先定了什么,后添了什么。这一幅是竖的:眼睛从下往上走,落点在中段那只鸟身上。先别急着看羽毛,让姿态先立起来。第二步凑近一寸:看线与色的交界,色有没有压住线,线有没有断。第三步,把视线放到最深的那一小块:整幅的用色秩序,都是从那里排开的。

  2. 名与实

    学名 Amazilia riefferia:前一词是属,管它归在哪一类;后一词是种加词,管它在这一类里凭什么与众不同。双名制的好处是唯一:全世界叫这个名字的,只能是这一种。此幅尚无通行中文名,姑以学名相称;在没有本地名字的地方,学名就是它唯一的身份证。

  3. 形与色

    蜂鸟为美洲最小之鸟,喙细长如针,舌分叉成管,可伸入花心吸蜜;翼小而振频极高,能悬停、能倒飞。此幅未作色相归档,只能就形制论。此幅只画一个种,形制的每一处都摊在纸面上,没有遮掩。

  4. 构图与呼吸

    画幅高而窄,鸟栖在枝的中段,上下留白多——十九世纪鸟谱的标准版式,留给它飞走的余地。(高宽比约 1.38∶1)全幅只画一只,不作解剖附图——这类图更近于“观赏”,而非“鉴定”。试着用拇指遮住空白处——画面立刻变闷;放开,它才重新“喘上气”。留白,是给主体让出的气口。

  5. 一刀一色

    十九世纪后半叶,石版与彩色石印渐成主流:颜色可以直接印出,不再依赖手工,线条反倒退居其次。图像的“准确”提高了,手性却淡了。还有一种证据在纸背:铜版压进纸里的那道痕、上色处微微凸起的颜料、再版时磨浅的线。扫描件里也能看出七分。

  6. 时序

    热带美洲几乎全年可见,花期即其季节;温带种类的蜂鸟则随花北迁,一年往返数千公里。图上所记的 1861 年是刊行之年,不是采到那只鸟的年份;真正的观察记录通常比出版早一两年。同一株植物,春天与秋天看起来像两种东西;图谱选花期,是因为那时它最不容易认错。

  7. 故土

    仅产美洲,自阿拉斯加南部至火地岛,以安第斯山最为繁盛。中土无蜂鸟,汉籍不载,晚清海外游记始见其名。《古尔德蜂鸟图谱》成于1849-1887,那一代人对这类鸟的知识,多半来自标本与笼养,而不是野地。

  8. 书与人

    《古尔德蜂鸟图谱》(Gould's Hummingbirds)由约翰·古尔德绘,成于1849-1887。此幅为其中图版 311, Vol. V,见原书第 311 页。图谱是集体工程:绘图、刻版、上色、编纂各有其人,署名的往往只有第一个。

  9. 诗境

    穿花蛱蝶深深见,点水蜻蜓款款飞。

    —— 唐·杜甫《曲江二首》

    中土无蜂鸟,然“穿花”之态,杜甫早已写过:贴着花心走,是采蜜者的共同姿态。把这一句放回画面:画面就是诗句的落点——诗先写气,画后写形,两者在此处接上了。

  10. 文心

    竖划三寸,当千仞之高;横墨数尺,体百里之迥。

    —— 南朝宋·宗炳《画山水序》

    三寸的竖线可当千仞高山,几尺横墨能容百里之远。一只蜂鸟只有拇指大,画家却要在几厘米里放下整片花丛——尺度从来不是障碍。古尔德《蜂鸟图谱》(1849—1887)以石版手工上色,金箔衬底,使羽色在纸上仍有金属光;这套图册本身就是十九世纪印刷与收藏狂热合流的产物。中外的分别不在谁高明,而在问的问题不同:欧洲问它是什么,中国问它像谁。两个问题都答了,一幅图才算读完。

  11. 花语

    阿兹特克以蜂鸟为战神与太阳的化身;欧洲维多利亚时代则以蜂鸟为收藏与装饰的极致,百万只羽毛被做成胸饰。中国旧籍无此鸟,故无象征——这空白本身,就是一部博物学交流史。花语是给人与人的关系用的;植物自己只关心有没有传粉的虫。这两套语言,可以并行不悖。

  12. 带走一双眼睛

    下次看鸟,别急着认名:先看它停的姿态,再看羽色在哪一段最深,最后才翻图鉴——顺序一换,看鸟就从“对答案”变成了“看画”。二百年后,这只鸟的后代或许仍在某处活着;而纸上这一只,永远停在 1861 年的那个季节。

《古尔德蜂鸟图谱》中的其它图版