辉尾蜂鸟属
Metallura cupreicauda
Metallura cupreicauda
Coppery-Tail
- 中文名
- 辉尾蜂鸟属
- 学名
- Metallura cupreicauda
- 合集
- 古尔德蜂鸟图谱
- 绘者
- John Gould(约翰·古尔德)
- 年代
- 1852
- 图版号
- Pl. 191, Vol. III
- 原书页码
- p.191
- 授权
- CC0 1.0 Universal (Public domain)
关于本图版
《古尔德蜂鸟图谱》(Gould's Hummingbirds)由约翰·古尔德绘制,1849—1887 年间印行,本图即其中一幅。画面主体是辉尾蜂鸟(Metallura cupreicauda),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. 191, Vol. III,对应原书第 191 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)
Bolivia
This large and extremely fine bird is distinguished from all the other members of its genus by its greater size, the dark colouring of its breast, and the lustrous coppery hue of the under surface of its tail.
Mr. Bridges is almost the only person who has brought specimens of this bird to Europe. With one exception, all the examples in my collection were procured by him. These were part of the acquisitions he secured during an expedition into Bolivia, which, although not, perhaps, remunerative in a commercial point of view, increased his reputation as the discoverer of the many new and interesting objects, both in zoology and botany, he brought with him on his return to Europe. Mr. Bridges states that he found this fine bird engaged in extracting its insect food from the flowers of a graceful species of the genus Loranthus.
But few species of the Trochilidæ are so scarce in our collections as the present bird; and it would doubtless well repay any naturalist who would devote a series of years to the exploration of the rich country of Bolivia for the acquisition of fine examples of this and the many other interesting birds which there abound. Mr. Bridges mentions that he found this species in the Valley of Palea, near Tacna. It is, I believe, strictly a mountainous species, but is never found so high as the line of perpetual congelation.
Not possessing any examples of the female of this species, I am unable to give a description of that sex.
Throat lustrous bluish green; behind the eye a small spot of greyish white; crown of the head, neck, back, and all the upper surface dark lustrous purplish brown; wings the same, but lighter; under surface of the tail rich fiery and very luminous copper colour; its upper surface, in one light, rich purplish copper colour, and in another greenish; bill black.
The figures are of the natural size. The plant is the Catasetum naso, var.
References
- Trochilus (—?) eupricauda, Gould in Proc. of Zool. Soc., part xiv. p. 87.
- Mellisuga cupreocauda, Gray and Mitch. Gen. of Birds, vol. i. p. 113, Mellisuga, sp. 438.
- Metallura cupreicaudus, Bonap. Consp. Gen. Av., p: 75, Metallura, sp. 1.
- Metallura cupreicauda, Reich. Auf. der Col., p. 8.
- Agleactis cupreicauda, Bonap. Rev. Zool. 1854, p. 253.
十观
- 纵幅 1.41∶1
- 1852 年刊
- 图版 191, Vol. III
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
学名 Metallura cupreicauda: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。名字是通行证,也是懒办法——记住两个词,就抓住了一整个物种。中文名“辉尾蜂鸟属”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。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。想动笔临它的人记住一句:先铺大块的形与色,干后再收细部;石印的柔和层次来自薄涂与网点,水彩分两三遍淡铺即可逼近。
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。
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。在图谱里,它首先是一个物种,其次才是一种象征——这个次序值得记住。
时与地
温带种类的蜂鸟则随花北迁,一年往返数千公里。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。图上所记的 1852 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。《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。看这一类图,不妨把产地和季节都当“据说”来读。
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 191, Vol. III,见原书第 191 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。
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。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 1852 年的那个季节。