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Thaumatias Linnæi

Linnæus’ Emerald

Pl. 302, Vol. V · p.302 · 1861 · Gould's Hummingbirds · John Gould · 1849-1887

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. 302, Vol. V
原书页码: p.302
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。原书题作“Thaumatias Linnæi”，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. 302, Vol. V，对应原书第 302 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）

Northern Brazil, Cayenne, Dutch and British Guiana, Trinidad, and Venezuela

We have here a species that has been common in our collections from the earliest period at which the productions of South America became known to us; but it is quite impossible to say under what name it is designated by the older writers; this difficulty has arisen from the absence of illustrations in their works, and from their careless and curt descriptions applying equally well to several species.

M. Bourcier, of Paris, whose opinions respecting the great group of Humming Birds are not to be questioned, has kindly favoured me with the above list of synonyms, as probably referring to this species, and they are given entirely on his authority.

The term viridissima, assigned to this species by M. Lesson, having been employed many years before by Gmelin for another member of the family, and the other synonyms given above being, in my opinion, very questionable, I agree with M. Bourcier and Prince Charles L. Bonaparte, that it will be advantageous to give the present bird another appellation, and I have therefore adopted that of Linnæi, proposed for it by the Prince, in honour of the great Swedish naturalist.

The native habitat of this species is Northern Brazil, Guiana, and the neighbouring countries; it is also said to visit Tobago; but whether it is to be found in that or any other of the West Indian Islands, is unknown to me. My specimens are from Para, the Delta of the Amazon, and Guiana, and I believe I may also say, from Santa Fé de Bogota; for I possess examples from that locality which so closely accord with the others, that I have no doubt of their identity, the only differences being a trifling increase in the length of the bill and a slight tipping of white to the tail-feathers.

The sexes, like those of T. albiventris, very closely assimilate in colour; but the female is somewhat smaller than her mate.

Head, all the upper surface, upper and under wing-coverts, and tail-coverts bronzy green; wings purplish brown; central tail-feathers bronzy green; the remainder black, with paler tips; throat and breast glittering grass-green, fading into duller green on the flanks; a narrow stripe down the abdomen, and the under tailcoverts white.

The figures are the size of life. The plant is copied from a drawing sent to me by Mr. Reeves.

References

Thaumantias linnæi, Bonap. Rev. et Mag. de Zool. 1854, p. 255.
Trochilus Tobaci, Gmel. Edit. Linn. Syst. Nat., tom. 1. p. 498?
Tobago Humming Bird, Lath. Gen. Syn., vol. ui. p. 781?
Trochilus Tobagensis, Lath. Ind. Orn., vol. 1. p. 316?
Tobago Humming Bird, var. A., Lath. Gen. Hist., vol. iv. p. 336?
L’Oiseau-mouche de Tobago, Aud. et Vieill. Ois. dor., tom. i. p. 114?
L’Oiseau-mouche à poitrine verte (Trochilus maculatus), Aud. et Vieill. Ois. dor., tom. 1. p. 87. pl. 44?
Trochilus Tobago, Shaw, Gen. Zool., vol. viii. p. 350?
Ornismya viridissima, Less. Hist. Nat. des Ois. Mou., p. 207. pl. 75.

十二观

纵幅 1.37∶1
1861 年刊
图版 302, Vol. V

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

论画以形似，见与儿童邻。

—— 宋·苏轼《书鄢陵王主簿所画折枝》

只求画得像，是小孩的眼光。苏轼不是不要形似，是说形似之后还有一层：神。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

图上只标属名 Thaumatias，未定种；这一时期的图谱常以一属数种合绘，种名要等后来的专著补齐。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。画幅高而窄，形与色的关系因此看得格外清楚：先读轮廓，再读色层，最后才看笔触。
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 1.37∶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”。老图谱爱把主株摆在偏中线的位置，左右留得不一样多：这一点偏心，正是画面活起来的原因。
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。
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 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。图谱记的是十余日的盛况；剩下的三百多天，植物在长叶、结果、休眠——图只截了它最像自己的一刻。
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。十九世纪的苗圃主是这场植物迁徙的中转站：谁家先开花，谁家就有生意。
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 302, Vol. V，见原书第 302 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。
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。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。
文心

气之动物，物之感人，故摇荡性情，形诸舞咏。

—— 南朝梁·钟嵘《诗品序》

气推动万物，万物感动人，情绪被摇动，才有歌舞与诗。艺术发生的次序，就是这样。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。
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。花语是给人与人的关系用的；植物自己只关心有没有传粉的虫。这两套语言，可以并行不悖。
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：1861 年的一个人，为一只鸟花了整整一天。