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Oxypogon Guerini

Guerin’s Helmet-crest

Pl. 182, Vol. III · p.182 · 1852 · Gould's Hummingbirds · John Gould · 1849-1887

学名: Oxypogon Guerini
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. 182, Vol. III
原书页码: p.182
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。原书题作“Oxypogon Guerini”，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. 182, Vol. III，对应原书第 182 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）

New Granada; plentiful around Bogot

This fine species of Humming Bird is a native of the higher regions of the Columbian Andes, where, judging from the abundance in all the collections of specimens that are sent from Bogota, it must be very common: although it is not adorned, like many of the Humming Birds, with bright metallic colours, the beautiful lengthened crest and throat feathers render it a showy and conspicuous species.

Dissection alone can determine whether the crestless birds represented in the Plate are adult females or youthful birds; I think it likely that they will prove to be the latter. The middle figure on the upper part of the Plate represents I believe a young male of the year, but I should not be surprised if we hereafter learn that fully adult females possess a similar style of plumage; in all probability, however, the black feathers of the crest are always wanting in that sex.

The adult male may be thus described:—Head and chest brownish black, with a narrow line of white down the centre, joined on the forehead to two narrow lines of white, which proceed thence along either side of the base of the bill; on the centre of the throat is a similar lengthened tuft of white feathers, down the middle of which is a line of rich shining green; black of the head bounded on the sides and in front by a broad mark of buffy white; upper surface, wing-coverts and two central tail-feathers bronzy green, the latter with the basal two-thirds of their shafts white; lateral tail-feathers coppery bronze, with a stripe of white down the centre, which increases in extent as the feathers recede from the centre, until on the outer feather it becomes of a broad spatulate and incurved form; wings purplish brown; under surface light olive-brown, with bronzy reflexions on the flanks; under tail-coverts light olive-brown; bill and feet blackish brown.

Total length, 4 $\frac{1}{2}$ inches; bill, $\frac{1}{2}$ ; wing, 2 $\frac{3}{4}$ ; tail, 2 $\frac{1}{4}$ ; tarsus, $\frac{1}{4}$ .

The birds which I consider to be females resemble the male in colour, but are altogether less brilliant, are much smaller in size, have the throat and crest feathers much less developed, and moreover have no black feathers in the crest.

Total length, 4 inches; bill, $\frac{1}{2}$ ; wing, 2 $\frac{5}{8}$ ; tail, 2 $\frac{1}{8}$ , tarsus, $\frac{1}{4}$ .

The young are similar, but smaller and less brilliant; they are also entirely devoid of the lengthened feathers of the head and throat, and have on the sides of the throat numerous spots of olive-brown, which nearly meet in the centre.

The figures are of the natural size; the two in the fore-ground engaged in one of those conflicts which so frequently occur with all the species of this family.

References

Ornismia Guerinii, Boiss. Rev. Zool. 1840, p. 7.
Trochilus parvirostris, Fras. Proc. of Zool. Soc., Part VIII. p. 18.
Ornismya Guerinii, Lodd. in Proc. of Zool. Soc., Part XI. p. 122.
Oxypogon Guerinii, Gould in Proc. of Zool. Soc., Part XVI. p. 14.
Mellisuga Guerinii, Gray and Mitch. Gen. of Birds, Mellisuga, sp. 30.
Warrior, of the dealers in specimens of natural history.

十二观

纵幅 1.35∶1
1852 年刊
图版 182, Vol. III

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

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。尺幅从来不是障碍，取舍才是本事。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 Oxypogon guerini：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。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。别只看花：叶脉的走向、萼片的长短、甚至茎上的毛，都是画家用来区分物种的证据。
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 1.35∶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 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。记下这一季：物候是最好用的鉴赏工具，见过一次活的花，再看图就不会只看颜色。
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。同一部图谱里，同类往往排在一起；把几幅并看，差别比单看一幅清楚得多。
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 182, Vol. III，见原书第 182 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。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。
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

鉴赏力不是知识，是习惯：每次多看一眼，十年之后你看什么都和别人不一样。图谱的用意是“以备查考”，看久了却会忘记查考：1852 年的一个人，为一只鸟花了整整一天。