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领蜂鸟属·Heliangelus Mavors

Heliangelus Mavors

Mars

Pl. 246, Vol. IV · p.246 · 1854 · Gould's Hummingbirds · John Gould · 1849-1887

中文名: 领蜂鸟属·Heliangelus Mavors
学名: Heliangelus Mavors
合集: 古尔德蜂鸟图谱
绘者: John Gould（约翰·古尔德）
年代: 1854
图版号: Pl. 246, Vol. IV
原书页码: p.246
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。图中描绘的是领蜂鸟，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. 246, Vol. IV，对应原书第 246 页，版式为纵幅。扫描件取自公有领域原件，经高分辨率修复与色彩校正，可按原大放大查看线条与设色。

原书文字（英文 / 法文）

The Paramos of Portachuela and Zumbador in New Granada

Of all the species of the Andean Humming Birds belonging to the genus Heliangelus, I regard this as by far the most beautiful and interesting; it has all the charms of novelty to recommend it; and it stands alone, too, among its congeners, no other member of the genus similarly coloured having been discovered up to the present time.

The throat vies with the richest topaz, while the band on the forehead rivals in brilliancy the frontlet of every other species; the colouring of the throat, however, like that of H. Spencei, has not the transcendent glitter of H. Clarissæ and its near allies, consequently no metallic agent I could use would assist in truly representing the richness of its colouring: all that could be done has been; but I regret much when I observe how far inferior the representation is to the original.

The country in which this rare bird flies is the elevated region of Northern Columbia, particularly the flat Paramos of Portachuela and Zumbador, where Messrs. Funck and Schlim found it, at an elevation of from 7000 to 9000 feet; they also met with it on the Paramos of Los Conejos at a similar elevation. In those districts there doubtless exist other fine species at present unknown to us, for we can scarcely imagine that those travellers procured examples of all the species of the genus which dwell therein, and which we may reasonably expect to be as rich in the feathered tribes as it is in another department of Nature’s wonderful works, Botany, in which, I am told, numerous were the discoveries they made in this almost terra incognita. Would that time and circumstances would admit of my visiting so rich a region, feeling assured, as I do, that my labours would be amply rewarded by discoveries, not only in this group of birds, but in every other branch of Zoology! Will not this remark induce some young and enthusiastic naturalist to make a journey thither for the purpose of investigating its productions? If the field be considered too limited, the eastern slope of the great Cordillera, and thence to Bolivia, will prove equally rich in beautiful objects; a lifetime, in fact, may be spent in thoroughly exploring this New-World paradise.

The male has a narrow mark of deep fiery red on the forehead; crown and all the upper surface bronzy green; behind the eye a very small spot of white; lores and sides of the neck black; throat deep fiery red, bounded below by a broad crescent of buff, which colour, but of a somewhat deeper tint, pervades the centre of the abdomen; flanks washed with green; under tail-coverts greyish buff; wings purplish brown; two middle tail-feathers bronzy green, the remainder bronzy brown, the two outer ones on each side obscurely tipped with white; bill blackish brown; tarsi dark brown.

The female is very similar to the male, but, in lieu of the fiery throat, has that part mottled with brown and black.

The figures are of the natural size. The plant is the Stachytarpheta aristana.

References

Heliangelus mavors, Gould in Proc. of Zool. Soc. 1848, p. 12, Aves; pl. ii.
Mellisuga mavors, Gray and Mitch. Gen. of Birds, vol. iti. App. p. 5, App. to p. 113.
Heliangelus mavors, Bonap. Consp. Gen. Av., p. 76, Heliangelus, sp. 3.—Ib. Rev. et Mag. de Zool. 1854, p. 252.
Trochilus Mavors, Reichenb. Aufz. der Colibris, p. 12.

十二观

纵幅 1.50∶1
1854 年刊
图版 246, Vol. IV

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

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。
名与实

学名 Heliangelus mavors：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。
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。
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 1.50∶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 1854 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。这类植物的旅程比图版本身更长：从一座山到另一座山，从一种语言换到另一种语言。
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 246, Vol. IV，见原书第 246 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

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。诗以气行，画以形立；两种“看”叠在一起，才是看画的意思。
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。花语是后人添上去的，花本身并不知道；但这层“不知道”，正是它最动人的地方。
带走一双眼睛

如果只能记一句，就记郭熙那八个字：远望取其势，近看取其质。看图、看花、看人，都一样。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 1854 年的那个季节。