Sapphironia Goudoti
Sapphironia Goudoti
Green-breasted Sapphironia
- 学名
- Sapphironia Goudoti
- 合集
- 古尔德蜂鸟图谱
- 绘者
- John Gould(约翰·古尔德)
- 年代
- 1861
- 图版号
- Pl. 345, Vol. V
- 原书页码
- p.345
- 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。画面主体为 Sapphironia Goudoti,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. 345, Vol. V,对应原书第 345 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)
New Granada
As will be seen on reference to the accompanying Plate, the Sapphironia Goudoti is a very elegantly formed bird, and its colouring is not less worthy of admiration, its throat, breast, and under surface being clothed with glittering metallic green.
It will be noticed also, that in this instance I have departed from my general rule in not figuring the female; this omission is due to my not possessing a specimen to figure from: neither have I been able to see an example of this sex in any other collection, which is the more strange, since the male is very commonly met with; indeed, it is one of the birds sent in the greatest numbers from Bogota. That the female will differ from the opposite sex, and bear a general resemblance to the female of Sapphironia cæuleogularis, there can be little doubt. It not unfrequently happens that we receive numerous male examples of a species for years before a single female is transmitted, but sometimes the contrary occurs; indeed, even in their native country, one sex appears to be often found in numbers, to the exclusion of the other. This may account for our not having yet received the female of the present species; at the same time, it is, doubtless, the less attractive colouring of the female which prevents examples of that sex being skinned by the Indians, who are the principal collectors and preservers in the neighbourhood of Bogota.
M. Bourcier has named this species in honour of M. Goudot, who, by his researches in New Grenada, and the collections he obtained there, has done so much to promote the cause of natural science.
I trust that the single figure in the accompanying Plate will sufficiently illustrate this pretty bird, and that it will bear out what I have said as to the elegance of its form and the beauty of its colouring.
All the upper surface grass-green; under surface glittering green; wings purplish brown; tail-coverts bronzy green; tail purplish black, slightly washed with bronze; under tail-coverts green, narrowly fringed with white in some specimens, broadly fringed with white in others, and in others again these feathers are white, with a streak only of green down the centre; upper mandible and tip of the lower black, the basal two-thirds of the latter apparently flesh-colour.
The figure is of the natural size. The plant is the Tropæolum umbellatum.
References
- Trochilus Goudoti, Bourc. in Rev. Zool. 1843, p: 100.—Ib. Ann. Sci. Phys. &c. de Lyon, 1843, p. 47.
- Saucerottia goudoti, Bonap. Consp. Gen. Av., p. 77, Saucerottia, sp. 6.
- Polytmus Goudoti, Gray and Mitch. Gen. of Birds, vol. i. p. 108, Polytmus, sp. 68.
- Chalybura Goudotii, Reichenb. Auf. der Col., p. 10.
- Hylocharis goudoti, Bonap. Rev: et Mag. de Zool. 1854, p. 295.—Selat. in Proc. of Zool. Soc., part xxv. p. 17.
十观
- 纵幅 1.39∶1
- 1861 年刊
- 图版 345, Vol. V
第一眼
六法者何?一、气韵生动是也;二、骨法用笔是也;三、应物象形是也;四、随类赋彩是也;五、经营位置是也;六、传移模写是也。
—— 南齐·谢赫《古画品录》
一千五百年前的六条标准:气韵、用笔、形似、设色、构图、临摹。你在这幅图上一样样对过去,就是一次完整的读画。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 Sapphironia goudoti: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。一百多年前的命名者,把一种植物的来历压进了两个词。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
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。看形制不必求全:记住喙形、翼式与栖姿,这一类的骨架就立住了。
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 1.39∶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。诗以气行,画以形立;两种“看”叠在一起,才是看画的意思。
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。
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 1861 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。看叶的老嫩、花与果是否同在枝上,季节便八九不离十;看题名里藏着的地名,来路也猜得出七分。
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 345, Vol. V,见原书第 345 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。
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。1861 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。