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刺嘴蜂鸟属·Ramphomicron Herrani

Ramphomicron Herrani

Ramphomicron Herrani

Herran’s Thorn-bill

Pl. 187, Vol. III · p.187 · 1852 · Gould's Hummingbirds · · 1849-1887

中文名
刺嘴蜂鸟属·Ramphomicron Herrani
学名
Ramphomicron Herrani
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. 187, Vol. III
原书页码
p.187
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。图中描绘的是刺嘴蜂鸟,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. 187, Vol. III,对应原书第 187 页,版式为纵幅。图像由公有领域原件扫描修复而来,细节在放大视图中仍清晰可辨。

原书文字(英文 / 法文)

Ecuador

It is not more remarkable than it is true, that some of our most eminent ornithologists entertain a kind of antipathy to the beautiful Tyochilidæ; while others, charmed by their elegant forms, brilliant metallic decorations and interesting habits, regard them with a feeling akin to admiration; I feel certain, however, that the course of time and a better acquaintance with the subject, will lead the former class into the ranks of the latter, and that these lovely birds will become universal favourites.

The rarer species are but little known and understood, and doubtless many of great beauty yet remain to be discovered. It is but very recently that the brilliant bird figured on the accompanying Plate has been sent to Europe, and surely the discovery and acquisition of objects such as this must tend to weaken the opinions of those who regard the entire group as uninteresting: for my own part, I consider this addition to our stores to be replete with interest in every sense of the word; its elegant form, fine bold rounded purple tail, rufous crown and rump, yielding in colour only to that of its fiery beard, rendering it the finest species of the genus yet discovered.

The female was first obtained by M. Delattre at Pasto, in New Grenada, but I believe the discovery of the male is due to M. Bourcier, who procured several examples in the primeval forests of Ecuador. A fine specimen of the former sex has also been sent to me by M. Warszewiez, from the Cordillera of Quindios in Columbia; the true habitat of the species would therefore seem to be the great ranges of the Andes, near to the Equator. Its fine colours indicate that it is a native of warmer regions than those frequented by any other member of the genus. The colouring of the sexes is very similar, with the exception of the female being destitute of the beard-like appendage so conspicuous in the male.

M. Bourcier informs me that ‘it flies but little, and is very tranquil in its own habits, but is continually pursued and attacked by the other species of Humming-Birds frequenting the same locality. Its flight is short and easy, as it skips from branch to branch to explore the flowers of the small shrubs, from which it obtains its insect food. It remains motionless during the day, and is only to be met with in the evening or very early in the morning. I made diligent search in all the mountainous districts called Paramos, used for the pasturing of cattle, in the hope of finding additional examples, but in vain; I am therefore led to conclude that it does not exist beyond the chain of mountains whence the river Madelaine rises. I am inclined to think that the female is destitute of the beard.”

This fine bird has been dedicated by MM. Delattre and Bourcier to General Herran, formerly President of the Republic of New Grenada, a gentleman of rare attainments, who evinced the greatest friendship for Europeans, and an ardent desire to promote in his own country the useful and natural sciences.

Down the centre of the crown from the bill to the occiput a stripe of rusty red, tinged with golden on its posterior half; sides of the head dull black; plumage of the upper and under surface dull bronzy green, with an indistinct band of buffy-white across the lower part of the abdomen; wings purplish brown; rump and upper tail-coverts deep bronzy rufous; two central tail-feathers plum-colour, the remainder purplish black, the two outer ones on each side largely, and the third on each side slightly tipped with white; feathers of the chin small, scale-like, and of a brilliant metallic green, below which is a series of larger elongated pendent feathers of a brilliant fiery metallic red, bounded on either side with deep velvety black; under tail-coverts buffy white; bill black; feet blackish brown.

In the female or young bird, the mark on the crown is broader and of a uniform dark rust-red; upper surface, wings and tail as in the male, but less brilliant, especially on the rump; throat pale buff, with a spot of shining green at the tip of each feather.

The Plate represents two males and a female, or young bird, on a plant of the country in which the bird is found.

References

  • Trochilus Herrani, De Latt. et Bourc. in Rev. Zool., Sept. 1846.
  • Calothorax herrani, Bonap. Consp. Gen. Av., p. 85, Calothorax, sp. 3.

十二观

  • 纵幅 1.40∶1
  • 1852 年刊
  • 图版 187, 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。

  1. 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。

  2. 名与实

    学名 Ramphomicron herrani: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。

  3. 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。

  4. 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 1.40∶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。

  5. 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。还有一种证据在纸背:铜版压进纸里的那道痕、上色处微微凸起的颜料、再版时磨浅的线。扫描件里也能看出七分。

  6. 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。看这一类图最好的时候,是它的花期:文字说不清的“开得正盛”,在树下站三分钟就懂了。

  7. 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。产地写在图上的,往往是“据说来自”;真正的野外记录,要等采集人回来才敢落笔。

  8. 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 187, Vol. III,见原书第 187 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。

  9. 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。

  10. 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。

  11. 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。象征多半来自形状与气味:像杯的、像泪的、香的、臭的——先有形状,后有意义。

  12. 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”。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。

《古尔德蜂鸟图谱》中的其它图版