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Smaragdochrysis iridescens

Iridescent Humming-Bird

Pl. 359, Vol. V · p.359 · 1861 · Gould's Hummingbirds · John Gould · 1849-1887

学名: Smaragdochrysis iridescens
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. 359, Vol. V
原书页码: p.359
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。图中描绘的是 Smaragdochrysis iridescens，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. 359, Vol. V，见第 359 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）

The virgin forests of the interior of Brazil

During the progress of the present monograph I have repeatedly had the pleasure of offering my thanks to Thomas Reeves, Esq., of Rio de Janeiro, for the liberal manner in which he placed at my disposal the novelties pertaining to this group of birds which have from time to time come into his possession.

This gentleman, who has resided in Rio for many years, has lost no opportunity of securing examples of every species that has been collected in that part of South America, which he has kindly forwarded to me for the furtherance of the present work. Of all these birds, none have been of greater interest to me than the one figured on the accompanying plate; and this interest has been much enhanced by the circumstance of the bird having been killed by Mr. Reeves himself during a visit to Novo Friburgo, a district skirting the virgin forests, about seventy miles from Rio. When he killed it, Mr. Reeves imagined it to be a curious variety of the Calliphlox amethystina; but this is not the case, for it differs so much from that species and all others, that I am even at a loss to know to what genus it is most nearly allied. For the present I have placed it near the Chlorostilbontes, as it more nearly resembles those birds in its style of colouring than any others; at the same time its delicate structure, diminutive wings, and deeply forked tail would lead to the conclusion that it is allied to the members of the genus Calliphlox. When additional examples have been procured and the female has become known to us, then, and then only, shall we be able to determine its proper situation.

The whole of the body, including the upper and under tail-coverts, iridescent pale green and light copperyred, most brilliant on the throat; the deeply forked tail steely dark brown, each feather tipped with a more bronzy or purplish hue, which is seen only in certain lights; upper mandible and the tip of the lower one black, the remainder of the latter apparently reddish flesh-colour.

Total length 3 $\frac{1}{4}$ inches; bill $\frac{3}{4}$ ; wing 1 $\frac{9}{16}$ , tail 1 $\frac{1}{4}$ .

The figures are of the size of life. The plant is the Gesneria purpurea.

References

Calliphlox? iridescens, Gould in Proc. of Zool. Soc., part xxvii. p. 310.

十观

纵幅 1.55∶1
1861 年刊
图版 359, Vol. V

这不是词条，是一条看画的次序：先站定看整体，再认名字、品形色、观构图与刀工——想动笔临它的人，刀工那一段替你标了该学什么；行至中途停下，听一句中国诗——同一朵花，古人是怎么看的；然后是花语、时与地、书与人；最后读一句古文，带走一双看画的眼。

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 Smaragdochrysis iridescens：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

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。看羽：先看覆羽的层次，再看飞羽的排列，最后才看颜色——颜色是最后才被注意到的部分。
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 1.55∶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”。试着用拇指遮住空白处——画面立刻变闷；放开，它才重新“喘上气”。留白，是给主体让出的气口。
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。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

穿花蛱蝶深深见，点水蜻蜓款款飞。

—— 唐·杜甫《曲江二首》

中土无蜂鸟，然“穿花”之态，杜甫早已写过：贴着花心走，是采蜜者的共同姿态。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 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 359, Vol. V，见原书第 359 页。图谱是集体工程：绘图、刻版、上色、编纂各有其人，署名的往往只有第一个。
文心

庭下如积水空明，水中藻荇交横，盖竹柏影也。

—— 宋·苏轼《记承天寺夜游》

月光像积水，竹柏的影子像水草。苏轼写的是错觉——而画画用的正是这种眼睛：先看错，才看得真。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。记住这一句，下次在别处见到同类，它会自己浮上来——鉴赏力就是这样一句一句攒出来的。