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领蜂鸟属

Heliangelus micrastur

Ecuadorian Star-frontlet

Pl. 383, Suppl. Vol. · p.383 · 1887 · Gould's Hummingbirds · John Gould · 1849-1887

中文名: 领蜂鸟属
学名: Heliangelus micrastur
合集: 古尔德蜂鸟图谱
绘者: John Gould（约翰·古尔德）
年代: 1887
图版号: Pl. 383, Suppl. Vol.
原书页码: p.383
授权: CC0 1.0 Universal (Public domain)

关于本图版

此图原刊于《古尔德蜂鸟图谱》（Gould's Hummingbirds），绘者为约翰·古尔德，成书于 1849—1887 年间。领蜂鸟（Heliangelus micrastur）是本图的主角，归入蜂鸟科（Trochilidae）。

全编共收录 421 幅图版，本图是其中一幅，原书将其列为 Pl. 383, Suppl. Vol.，见第 383 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）

I am inclined to agree with Mr. Elliot that it is better to place the present species in the genus Heliotrypha than in Heliangelus, to which I have assigned it in the present work, its strongly forked tail, and the absence of any white band on the breast, allying it more to the members of the former genus.

It has also been made the type of a distinct one, Helymus, by M. Mulsant; but, as Mr. Elliot well remarks, this was entirely unnecessary. I regret that my Plate was lettered before I could alter the generic name to Heliotrypha.

The genus Heliotrypha, therefore, as limited in Mr. Elliot’s Synopsis, consists of four species:—H. viola, from Ecuador, with the throat metallic purplish violet; H. exortis, from Ecuador and Colombia, with the throat metallic pinkish lilac; H. micrastur, from Ecuador, with the throat metallic flame-colour; and H. barrali, from Colombia, with a pale metallic olive-green throat.

The following is a copy of my original note on this species:—

I have in my collection two specimens of this new bird, one of which is much brighter and finer than the other. They were collected in the locality above mentioned, by one of Mr. Clarence Buckley’s hunters. In size this species is much smaller than any other member of this genus, even than Helangelus maxors. My specimens differ also from all of them in the absence of a white or buff band across the chest, in which respect they assimilate to H. Parzudaki [=exortes], but not in the forked tail and other respects. I think it probable they are somewhat immature, and that, beautiful as they are, fully adult examples will be still finer.

Bill black; on the forehead a band of glittering green; crown of the head, all the upper surface of the body, and the shoulders bronzy green; chest and flanks of the same hue, but rather brighter; centre of the abdomen mottled brown and green; on the throat an exceedingly lustrous spot of orange-scarlet, exceeding in brilliancy the colouring of the same part of any other member of this beautiful genus yet discovered; wings purplish brown; four central tail-feathers bronzy green, the remainder black; thighs brown; under tail-coverts white; feet dark brown, nearly black. Total length 3 $\frac{3}{4}$ inches, bill $\frac{3}{4}$ , wing 2 $\frac{1}{4}$ , tail 2 $\frac{1}{8}$ , tarsi $\frac{1}{4}$ .

Since the discovery of this bird by Mr. Buckley, it has been met with in the winter months by Mr. Stolzmann in Northern Peru, near Cutervo, at an elevation of from 9600 to 9800 feet above the sea-level.

Habitat. San Lucas, near Loxa, in Ecuador.

On the Plate are represented an adult and a young male, both of which were kindly lent me by Messrs. Salvin and Godman.

References

Heliangelus micraster, Gould, Ann. & Mag. Nat. Hist. (4) ix. p. 195 (1872).—Sel. & Salv. Nomenel. Av. Neotr. p. 89 (1873).
Helymus micrastur, Mulsant, Hist. Nat. Oiseaux-Mouches, ii. p. 93 (1876).
Heliotrypha micrastur, Elliot, Synopsis of the Humming-Birds, p. 88 (1878).—Taczanowski, Proc. Zool. Soe. 1880, p. 205.

十二观

纵幅 1.41∶1
1887 年刊
图版 383, Suppl. Vol.

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

真山水之川谷，远望之以取其势，近看之以取其质。

—— 宋·郭熙《林泉高致·山水训》

远看取其气势，近看取其质地。八个字，就是看画的两步：先退后看整体，再凑近看笔与色。看花鸟图版一样管用。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 micrastur：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。中文名“领蜂鸟属”是后人据学名回译的通行叫法，与古书里的旧名未必对得上——名与物之间，总隔着一层翻译。
形与色

翼小而振频极高，能悬停、能倒飞；羽色非颜料所致，是羽枝结构折射的光，随角度而变。此幅未作色相归档，只能就形制论。颜色不是平涂的：最浅处近乎纸色，最深处在花瓣重叠的缝里。把这两处找到，画面的呼吸就出来了。
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 1.41∶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。工艺留下的破绽比题跋更诚实：刻工不会撒谎，上色的人赶时间的时候会。
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 1887 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。
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。今天再看，图上的产地已是一百多年前的产地；植物会迁徙，地方也会改名字。
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 383, Suppl. Vol.，见原书第 383 页。一本书的“作者”常常是主编；真正决定这幅图好不好看的，是没留下名字的刻工与上色人。
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。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。
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。
带走一双眼睛

把这三件事带走：先整体后细节；先线后色；先看画再翻书。任何一张老图版，都可以用这三条读。1887 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。