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Erythronota Sophiæ

Sophia’s Erythonote

Pl. 322, Vol. V · p.322 · 1861 · Gould's Hummingbirds · John Gould · 1849-1887

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. 322, Vol. V
原书页码: p.322
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。画面主体为 Erythronota Sophiæ，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. 322, Vol. V，对应原书第 322 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）

Costa Rica, Veragua, and New Granada

Before taking up my pen to give an account and description of the bird figured on the opposite Plate: I have carefully examined, side by side, the type-specimen from which M. Bourcier took his description of Trochilus Sophiæ, the type-specimen of the bird I described as Trochilus caligatus, and, through the kindness of the Director of the Royal Museum of Berlin, a veritable example of M. Cabanis’ Hemithylaca Hoffmanni; and I find that the three birds are so precisely alike, that Iam unable to detect any difference either in size, markings, or colour: the date of publication must therefore determine which of the three names is to be retained as a specific designation for the present species; and as that of M. Bourcier was proposed in 1846, my own in 1848, and M. Cabanis’ in 1860, the former must be the one adopted, and the others placed in the rank of synonyms.

The Erythronota Sophiæ appears to be very common in Costa Rica, for I possess many specimens from that country, all of which were collected in the neighbourhood of San José, a locality which is also inscribed on the label attached to the specimen belonging to the Berlin Museum; independently of Costa Rica, the bird is also found at Panama, and in the country to the southward and eastward of that locality. By some naturalists the Saucerottia typica has been considered to be identical with this bird; but on an inspection of the type-specimen, which is also before me, I am inclined to think it distinct; at the same time I must admit that it is very nearly allied; it appears to be a larger bird, to have the green of the under surface less brilliant, the centre of the under tail-coverts dull olive instead of blue, and the tail-feathers inclined to greenish; the lower part of the back, too, differs in presenting no trace of the purple hue which pervades the corresponding part in most of the specimens of the E. Sophiæ. The Saucerottia typica was brought from New Granada by De Lattre, and I do not find any examples in collections from Costa Rica. M. Bourcier has named this species in honour of Madame Sophie Gairal.

Head, all the upper surface and wing-coverts dark green, inclining to purplish red on the lower part of the back; wings dull blue; upper tail-coverts and tail very deep shining steel-blue; under surface of the body shining grass-green; thighs thickly clothed with white feathers; under tail-coverts blue, narrowly fringed with greyish white; on each side the flanks a tuft of white; bill black.

The purple hue of the lower part of the back immediately above the upper tail-coverts appears to vary considerably, being much deeper in some specimens than in others.

The figures are of the natural size. The plant is the Trichopilia coccinea.

References

Trochilus Sophiæ, Boure. Ann. Soe. Sci. Phys. et Nat. Lyon, 1846, p. 318.—Ib. Rev. Zool. 1846, pp. 316, 317.
Polytmus Sophiæ, Gray and Mitch. Gen. of Birds, vol. i. p. 109, Polytmus, sp. 76.
Amazilius sophiae, Bonap. Consp. Gen. Av., p. 78, Amazilius, sp. 12.
Saucerottia Sophiae, Reich. Auf. der Col., p. 8.
Saucerottia sophiæ, Sclat. in Proc. of Zool. Soc., part xxii. p. 141.
Saucerottia sophia, Bonap. Rev. et Mag. de Zool. 1854, p. 255.
Chlorestes Sophiae, Reich. Troch. Enum., p. 4. t. dexevii. figs. 4554, 4555?
Trochilus (———?) caligatus, Gould in Proce. of Zool. Soe. 1848, p. 14.
Hemithylaca Sophiae, Cab. Mus. Hein., Theil iii. p. 38, note.
Hemithylaca Hoffmanni, Cab. ib. p. 38.

十二观

纵幅 1.33∶1
1861 年刊
图版 322, 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。

第一眼

江馆清秋，晨起看竹，烟光日影露气，皆浮动于疏枝密叶之间。

—— 清·郑板桥《题画竹》

郑板桥说他画竹，是先看见“烟光日影露气”在枝叶间浮动，才动手。看画时找这一层空气，比记住花的名字更要紧。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。
名与实

没有学名可依，就看题名：题名里往往藏着产地、赠者或一句形容。此幅既无通行中文名，学名也不可靠，只能以原书题名相称——图谱里总有几幅这样的图，只能靠画面本身说话。
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。没有解剖图，就靠主株一处一处看过去：叶怎么排，花怎么着生，果在哪里。
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 1.33∶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”。空白不是没画完，是给眼睛留的落脚处：一张图若四边都塞满，花反而会闷。
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。拿放大镜（或手机微距）看三处：喙缘、覆羽、题名。线若连续不断，是刻的；色若越过轮廓半毫米，是手涂的。
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。图谱记的是十余日的盛况；剩下的三百多天，植物在长叶、结果、休眠——图只截了它最像自己的一刻。
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。十九世纪的苗圃主是这场植物迁徙的中转站：谁家先开花，谁家就有生意。
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 322, Vol. V，见原书第 322 页。图版今属公有领域，可以自由取用；但纸上那层手工上色，仍是两百年前某一个人的手。
诗境

夫列子御风而行，泠然善也，旬有五日而后反。

—— 《庄子·逍遥游》

蜂鸟悬停于空，不落不飞，最近于“御风”。庄子说的是一种自由的姿态，蜂鸟把它做成了生理事实。古人写到这一层，已不只是赏花，是借花说人；画面则只负责把那朵花留住。
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。读古文不必求全解，先认下这一句：它把“看花”换成了“看人”，你再看这幅图，眼里就多了一层。
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。象征会随世道改口：同一只鸟，在一个世纪里可以说完全相反的话。
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”。1861 年的那只鸟早已化作尘土，它留在纸上的样子，却比任何一只活着的同类都长寿。