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Jiang Tingxi (1669-1732) An Imperial Manual of Birds
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Major Iain Menzies - (1895-1979)
Prior to Iain and Lisa Menzies’ time in Tadley Court, there is no record of this collection of paintings. It is considered that Iain Menzies'aunt, Muriel Wilson, gifted the paintings toLisa Menzies before they moved toTadley Court.MurielWilson was the sister of Iain Menzies’ mother, Susannah, who married Sir George Lindsay Holford in 1912. Sir George Holford owned DorchesterHouseandWestonbirt,whichbothhoused animpressive collection of art,most ofwhichhehad inherited from his father Robert Stayner Holford (1808-1892).
Following the death of Iain Menzies in 1979,the collection of paintings was divided amongst his children, who have been custodians of them ever since.
Major Iain Graham Menzies was born in 1895 andeducated atEton.HejoinedtheColdstream Guards in 1914. Twoyears later he was recruited fromSpecial Reserveto serveinFranceduringthe First World War with the Brigade Machine Gun Company.In 1919 he resigned from the Armed Forceswith therankofLieutenant.Helivedwith his wife Lisa Menzies in Tadley Court,Hampshire, until he inherited Cannon Hall, Hampstead, in1964 from his eccentric aunt,MurielThetis Wilson (1875-1964). A photograph taken of the interiorofTadleyCourtinthe1950sshowstwo paintings of bird subjects, neither of which appear in the present collection, though it is true to say that they are from the same collection of paintings, as they are framed in the same manner;with a black cushion frame around a gilt slip. When Iain and LisaMenziesmoved into CannonHall, most of these paintings were reframed to match the interior of CannonHall,with a coral mount, and giltframe.CannonHall was featured in the July 1967 edition of the magazine Homes and Gardens, and the paintings can be seen decorating the staircase. The caption in the magazine refers to them thus ‘fine bird pictures with bright coral mounts decoratethemagnificentblack oak staircase whichleads from the flagged hall.'
伊恩·葛拉漢·孟席斯少校出生於1895年，會就讀於伊頓公學(xué)。1914年，他投身軍旅，加入冷溪衛(wèi)隧，雨年後，自特別後備役中被微召，赴法國參與第一次世界大，屬旅級機檐連。1919年，他以中尉軍自軍中退役。其後，他與妻子麗莎·孟席斯居於漢普郡塔德利莊園，直至1964年其性情古怪的姑母穆麗爾·西蒂絲·威爾遜（1875-1964）處承位於漢普斯特德的卡農(nóng)堂。一張攝於1950年代塔德利莊園內(nèi)部的照片，顯示兩幅以鳥類為題的書作，然而這兩幅作品未出現(xiàn)在現(xiàn)今的收藏中。管如此，可確定它們屬於同一系列，因其裝裱方式一致一一皆為描金黑色框，風(fēng)格相符，然一體。當伊恩與麗莎·孟席斯遵居至卡震堂時，他們將大多數(shù)作重新裝裱，以呼應(yīng)卡晨堂的室內(nèi)裝潢風(fēng)格，探用珊瑚色板與金色畫框。卡晨堂於1967年7月登上《居家與園藝》雜專題，其間可見這些作妝點著樓梯空間。
雜中的明文字如此描寫：精緻的鳥類作，配以鮮明的珊瑚色板，裝飾著宏偉的黑橡木樓梯間，該樓梯自鋪石玄關(guān)豌蜓而上。在伊恩與麗莎·孟席斯居住於塔德利莊園之前，無關(guān)於這批作收藏的任何記錄。普遍為，這些作是伊恩·孟席斯的姑媽穆麗爾·威爾在他們搬入塔德利莊園之前贈予麗莎·孟席斯的。穆麗爾·威爾是伊恩之母蘇珊娜的姊妹，蘇珊娜於1912年嫁給喬治·林賽·霍爾福爵士。霍爾福爵士有多徹斯特府與章斯伯特莊園，雨地皆珍藏著今人的藝術(shù)作品，其中大部分為他自父親羅伯特·斯泰納·霍爾福（1808-1892）處承而來。伊恩·孟席斯於1979年世後，這批書作收藏由其子女分別承，自此便由他們延續(xù)守護至今。
《烏譜》的原作者蔣廷（1669-1732），字揚孫，號西谷、南沙，又號青桐居士，江蘇常州人?？滴跛氖辏?703）進士，第二甲第四名。授翰林院編修，歷官禮部侍郎、戶部尚書、文華殿大學(xué)士。聲響甚著，博學(xué)精敏，尤善詩畫，常侍御前作畫，是康熙、雍正朝重要的臣家。其擅繪花鳥，在宮內(nèi)與西方傳教士的接觸中掌握了一定的西洋畫技巧，故其筆下花鳥兼?zhèn)洹赋Ｖ菖伞箾]骨風(fēng)格及西洋技法，講求設(shè)色施墨不見痕線，透視寫實重明暗，以獨妙的「蔣派」花鳥畫的「逸趣」格調(diào)動京城。
蔣廷被收錄在皇家內(nèi)府編撰的《石渠寶籍》初編至三編之繪作品共達七十一件（套）之多，其中以圖譜形式敬獻的大型畫冊有《鳥譜》、《鴿譜》和《百種牡丹譜》等。《石渠寶籍》匯集了清皇室鼎盛時期的收藏，卷四十一著錄：「蔣廷畫《鳥譜》十二冊。上等，宙一，寧御書房。素本，著色畫。每冊凡三十幅，左方別幅書譜文，每冊末幅款雲(yún)「臣蔣廷恭】，下有「臣廷】、「朝朝染翰」二印。共計三百六十幅，由高一尺七分，廣一尺二寸九分」。以上三套大型畫冊，惟《鳥譜》下落不明。本拍品為清末流出內(nèi)廷，散見之其中十九幅。現(xiàn)保存於臺北故宮博物院（前四冊）及北京故宮博物院（後八冊），繪製於乾隆朝的余省、張為邦《仿蔣廷踢鳥譜》，均能找到與蔣廷踢原稿對應(yīng)的圖譜。
《鳥譜》自康熙朝繪製完成以來，為清朝歷代皇室所珍愛，不摹繪。最早始於雍正元年（1723）七月，《清檔》記，「怡親王交《飛禽譜》十二冊，王喻，著表（裱）冊真。此」。雍正五年（1727）四月，「副總管太蘇培盛將造辦處收寧《鳥譜》冊一本呈奉。上問共本。隨奏共有十二本。上喻：著將此冊真交出，著慈寧宮畫人內(nèi)平常手藝人照樣畫一分（份）。其冊真上字著翰林戴瀚寫，不要草字，寫行書字。此」。
雍正帝之後，蔣廷所繪《鳥譜》深得雅好書的乾隆皇帝的喜愛，寧藏於紫禁城束六宮區(qū)的御書房內(nèi)，以供隨時觀，子子孫孫永寶用也。乾隆御詩《翠雀》曾提及《鳥譜》，「小飛枝上熊換，鳥譜移來芳譜便，雀以南而花以北，女夷酌劑有神權(quán)」.據(jù)《清檔》所紀，乾隆皇帝曾多次下旨摹繪。在後世廣為贊的余、張氏《鳥譜》生的十五年前，就已開始備。乾隆九年（1744）五月，「七品首領(lǐng)木哈來太胡世傅旨，將未做字畫手卷冊真伺候呈。此?！埂杆編彀资佬銓?..鳥譜十二..進交太胡世呈奉。旨將《鳥譜》安楠木殼，面著余省落款」。乾隆十三年（1748）七月，「員外郎西寧司庫白世秀來，協(xié)辦大學(xué)士傅恒交鳥譜三套（記十二冊）。傳旨著清話照樣收小些，續(xù)交軍機處，此」。乾隆十六年（1751），「副總管佛保持來員外郎郎正培，庫掌花善押帖一件，內(nèi)開為十四年十月二十二日太胡世交鳥譜一冊，傅旨著余照《鳥譜》數(shù)目尺寸，用畫《鳥譜》十二冊。欽此」。乾隆十八年（1753）十一月，「拜唐阿常昇來，軍機處交《鳥譜》二十五張，傅旨著配做糊黃合牌滅。此」。
乾隆二十年（1755），「員外郎郎正培，催總德魁帖-件，內(nèi)開為十九年十月十二日奏事，總管王常貴交來《鳥譜》圖樣三十張。傳旨著余省畫得時聚在《蔣廷鳥譜》後。此」。此為余省單獨繪製的一套《鳥譜》，為《石渠寶笈》初編所著錄，「余省《鳥譜》十二冊，上等，黃一，素本，著色，每冊三十幅，每冊末幅款雲(yún)「臣余省恭」，下有「臣」「余省恭畫」連印。每冊左方王圖炳楷書譜文，每冊末幅款雲(yún)「臣王圖炳奉敕敬書」。幅高一尺二寸五分，廣一尺三寸。嘉慶朝翰林院侍講學(xué)士、《石渠寶笈》三編的編撰者之一胡敬在《國朝院畫錄》中記，余省的《鳥譜》應(yīng)繪於他與張為邦合作的《鳥譜》之前，言：「續(xù)編有省與張為邦合摹《蔣廷鳥譜》，是冊殆省先專，後又與為邦合摹也」。
乾隆二十一年（1756）《清檔》載，「接得員外郎郎正培，催總德魁帖一件，內(nèi)開本月初二日員外郎郎正培等奉旨，《鳥譜》下函四冊著張為邦用白絹畫。此」。此版《鳥譜》在《石渠寶笈》續(xù)篇卷三十八有載：「余省張為邦合摹《蔣廷錫鳥譜》（十二冊），絹本，十二冊，每冊三十幅。末冊三十二幅，一尺二寸五分，橫一尺三寸。設(shè)色鳥三百六十一種，右圖左，兼清、漢書」。另外還細記錄了每一圖冊所的鳥名，以及乾隆朝重臣傅恒、劉統(tǒng)勛、兆惠、阿裹衰、劉、舒赫德、阿桂、於敏中等人所撰寫的題跋，跋日：「右《鳥譜》十二冊，為圖三百有六十。內(nèi)府舊藏故大學(xué)士蔣廷踢設(shè)色本，乾隆庚午春敕畫院供奉余省、張為邦摹繪。命臣等以國書圖，系於各幀之左。迄辛已冬事，裝潢上呈乙」。《清檔》中亦可見360幅作的交稿紀錄，乾隆二十六年（1761）六月，「接得員外郎安太押帖一件，內(nèi)開本月軍機處交來鳥譜九十幅，字圖九十幅。傅旨交如意館表（裱）冊真，此」。同年七月，「軍機處交來....鳥譜六十張，字圖六十張」。同年十月，「軍機處交來....絹鳥譜二百一十張，字圖二百一十張。傳旨著...《鳥譜》裱冊七冊，此」。此版鳥譜在完成後與原本分別存，被交於重華宮中。
由於此套《鳥譜》是對蔣氏《鳥譜》的摹，因此，余省和張為邦在繪製的過程中都要遵蔣氏風(fēng)，因此然出自兩位家之手，得以風(fēng)統(tǒng)一，如出一轍，為如今研究康熙時期的蔣廷鳥譜提供了參照。
乾隆後，未尋得《清檔》再有摹繪《鳥譜》的紀錄，但關(guān)於鳥譜的盤存一直持續(xù)至清朝覆減，但紀錄中未區(qū)分蔣氏《鳥譜》或余、張氏《鳥譜》。道光十四年（1834）六月，「御書房交來上等冊真..《鳥譜》十二冊」。由地點推測，此紀錄指蔣氏《鳥譜》，自乾隆帝後一直安放於御書房中。咸豐四年（1854）三月，「小太平順傅旨，重華宮交來鳥譜四匣（計十二冊），獸譜二匣（計六冊）移交淑芳齋」。由地點推測，此為余、張氏《鳥譜》。宣統(tǒng)十二年（1920）年四月，此時清朝已瓦解，末代皇帝溥儀退位後依舊保持皇帝尊號，居紫禁城，內(nèi)府仍維持運作，《永字冊真帳》記載：「對，二百三十八號，《默譜》六冊；對，二百三十九號，《鳥譜》十二冊」。推測此紀錄為余、張氏《鳥譜》。
乾隆十五年（1750），曾有旨意在《鳥譜》中增加了新的畫真，「拜唐阿趙其亮來大學(xué)士忠勇公傅（恒）交鳥一件。傅旨著照樣畫下，入《鳥譜》。此」。同年，「忠勇公傅（）交黑花鳥四件，白鳥一件，傅旨著，入《鳥譜》。此」。然結(jié)合前文中乾隆帝將鳥、黑花鳥、白鳥加入此版《鳥譜》推，此版鳥譜可能對蔣廷踢《鳥譜》進行了部分增加和刪減，總數(shù)保持不變。至於增和減的具體名目，由於蔣氏《鳥譜》的遺失而無法對比，本二十幅冊真的發(fā)現(xiàn)洽是可以作為研究《蔣廷踢鳥譜》的一個補充。。
The original authorofAlbumofBirdswasJiangTingxi(1669-1732),courtesy name Yangsun,alsoknown byhis artnamesXigu,Nansha,andQingtongJushi.Hewas born in Changzhou inJiangsu province.In1703,the42ndyearof theKangxireign, he achieved the degree of jinshi,placingfourth in the secondclass,and was subsequently appointed asaneditorat theHanlinAcademy.Overthecourseof his career,heheldvarioushigh-rankingposts,includingViceMinisterofRites,Minist ofRevenue,andGrandSecretaryoftheWenhuaHall.
Renownedfor hiseruditionandremarkableintellect,Jiangwasespecially accomplishedinpoetryandpainting.Heservedasoneoftheleadingscholarpaintersat court duringtheKangxi andYongzhengreigns.Jiangwasparticularly celebratedforhisbird-and-flowerpaintings.ThroughhisinteractionswithWestern missionariesatcourt,hegainedEuropeanpaintingtechniques.Asaresult,hisworks uniquely combined the“boneless”(mogu)style characteristic of the Changzhou SchoolwithWesterntechniques,emphasizingpaintingwithcolorandinkwithout visiblecontour lines,perspectivalaccuracy,and chiaroscuro.Thisfusiongaverise to the distinctive elegance andspiritedcharmof theso-called"JiangSchool"of birdand-flowerpainting.
A totalof seventy-onepaintings(orpaintingsets)byJiangTingxi wererecorded in theShiquBaoji(Catalogueof theIm erial Collection ofPaintingandCalligraphy), spanningitsfirst through thirdv several large-formatalbums presentedinthestyleofillustrated ncludingAlbumofBirds(Niaopu), Album ofPigeons(Bogepu),and Album One HundredVarietiesofPeonies (Baizhong Mudanpu).
Chapter 41of Shiqu Baojirecords that:“JiangTingxi's Album of Birds,twelve volumes.Classified as‘Superior，numberoneofZhou series,stored intheImperial Study.Painted onsilkwithcolour.Eachvolume comprises thirtyillustrations,with correspondingdescriptivetextsonfacingpages.Thefinalfolioofeachvolume withsignature‘RespectfullypaintedbyyourservantJiangTingxifollowedbytwo seals:‘ChenTingxi'(Your servant,Tingxi)andZhaozhaoRanhan’(Each morning, Idipmybrush in ink').The total numberof illustrations is360,each measuring approximately1chiand7feninheight,and1chi,2cun,and9feninwidthQing dynastymeasurements).Of thesethreegrand albums,AlbumofBirdsis the only onewhosewhereaboutsremain unknown.Qingcourt artistsYuShengandZhang WeibangcreatedcopiesofJiangTingxi'sAlbumofBirdsduringtheQianlongreign, and these faithfully correspond to the original illustrations,providingvaluable referenceforcomparison.Now,portionsof thework arepreservedintheNational PalaceMuseum,Taipei(thefirstfourvolumes),andthePalaceMuseum,Beijing（the lattereightvolumes).
SinceitscompletionduringtheKangxireign,theAlbumofBirds(Niaopu)wasgreatly treasuredbysuccessivegenerationsoftheQingimperialfamilyandwasrespectfully copiedbythe courtpainters.Theearliestknownreproductionlikelydatestothe7th monthof the1st yearof theYongzhengreign(1723).AccordingtotheQingPalace Archives:PrinceYiof theFirst Rank submitted twelvevolumes of the Album of Flying Birds(Feiqinpu),and was instructed tohave the album leaves mounted. Byimperialdecree.Afurtherrecordfromthe4thmonthofYongzheng's5thyear (1727) notes:“Deputy Chief Eunuch Su Peishengpresented a volume of the Album ofBirds,heldintheImperialWorkshops,forHisMajesty’sinspection.The emperor asked howmanyvolumesexisted intotal.Thereplywasthat therewere twelve.The emperorthenordered:Havethisvolume deliveredtotheCiningPalace,and assign courtpainterstoproduceafaithfulcopy.Theinscriptions aretobewrittenbyHanlin AcademicianDai Han,instandardrunningscript(xingshu)ratherthancursivescript (caoshu).'Byimperialdecree."
FollowingtheYongzhengEmperor,JiangTingxi'sAlbumof Birds(Niaopu)continued tobeheldingreatesteembytheQianlongEmperor,whokepttheworkinhisstudy, whereitwasreadilyaccessiblefo viewing.AccordingtotheQingCourtArchives, theQianlongEmperorissuedmultipleedicts orderingitsreproduction.Preparations forthesecopiesbeganasearlyasfifteenyearspriortothecompletionof thenowcelebratedversionsbyYuShengandZhangWeibang.
In the5th monthofQianlong's 9thyear(1744),an archival records:“Samuha conveyedanimperialorderthroughEunuch Hu Shijietopresentunfinishedpainting andcalligraphyhandscrolls andalbum leavesforinspection.Byimperial decree". "Treasuryofficial BaiShixiu submitted...twelvevolumesof theAlbum of Birds...to EunuchHuShijieforpresentation.The emperordecreed thattheAlbumofBirdsbe placed ina nanmu(Phoebe wood)case,withYu Sheng'sname on the cover”.In the 7thmonth of Qianlong's13thyear(1748),anotherentry notes:“BaiShixiu reported thatGrandSecretaryFuhenghad submittedthreesetsoftheAlbumofBirds(noted astwelvevolumes).Theemperorordered that translationsintoManchubeprepared accordingly.Thepaintingsweretobegraduallyforwarded totheGrandCouncil. Byimperialdecree.”Inthe16thyearof theQianlongreign(1751),theQingCourt Archivesrecord thefollowing:“DeputyChief EunuchFoBaoreported thatAssistant DepartmentDirectorLangZhengpeisubmittedasealeddocument,detailingthat on the22nd day of the10th month in the14thyear(1749),EunuchHuShijie had deliveredone volume oftheAlbumofBirds.Animperialorderwasissuedinstructing YuZhitoreproducetwelvevolumesoftheAlbumofBirdsonsilk,followingthe dimensionsand formatof theoriginal.Byimperial decree."Inthe11th month of the 18thyearofQianlong(1753),anotherentry notes:“Changshengreported that the GrandCouncil haddelivered twenty-fiveleavesof theAlbumofBirds.Animperial orderwasissued toprepareyellowsilkcovers andmatchingfolders.Byimperial decree."
Inthe20thyearof theQianlongreign(1755),LangZhengpeisubmittedadocument concerninganearlierreportdatedthe12thdayofthe10thmonthofthe19thyear (1754),stating that:“SupervisorWang Changgui had delivered thirty preparatory paintings fortheAlbumofBirds.Theemperor issued anedict,YuShengwas instructedtoconsultJiangTingxi'sAlbumofBirdsfrequentlyduringtheprocess ofcopyingandpainting.Byimperial decree.”Thissetof theAlbumofBirdswas paintedsolelybyYuShengandisrecordedinthefirstcompilationoftheShiquBaoji: “Albumfirdaintdbyhenwvolumeuerirradeumbe ofHuangseries.Paintedin colour on silk,with thirtyleaves ineachvolume.The final leafofeachvolumebearsthesigniture,Respectfullypaintedbyyourservant Yu Sheng’(Chen Yu Shenggong hua),accompanied by two seals:“Your servant (Chen)and‘Respectfullypainted byYu Sheng'(YuShenggonghua).On the left side ofeachleaf is an inscriptioninregular script(kaishu)byWangTubing.Thefinal leafofeachvolumeincludesthesigniture,Respectfullyinscribedbyyourservant WangTubingbyimperial command’(ChenWang Tubingfengchijing shu)”Each paintingmeasuresapproximately1chi2cun5feninheightand1chi3cuninwidth (approx.40.1 cm x41.7 cm,based on Qing dynasty units).Hu Jing,a Lecturer-inAttendanceat theHanlinAcademyduringtheJiaqingreignand oneof thecompilers ofthethirdcompilationoftheShiquBaoji,recordedinRecordofCourtPainters (GuochaoYuanhuaLu)thatYuSheng'sAlbum ofBirdswaslikelypaintedprior to his collaborative version with ZhangWeibang.He notes:“The later compilation includesaversionof JiangTingxi'sAlbumofBirdsjointlycopiedbyYuShengand ZhangWeibang.Thisalbum appearstohavebeenpainted firstbyYuShengalone, andonlylaterreproducedincollaborationwithZhang"
AccordingtoanentryintheQingPalaceArchivesfromthe21styearoftheQianlong reign(1756),“LangZhengpei submitteda document reporting that,byimperial decree,fourvolumesoftheAlbumofBirds,containedwithincases,weretobe paintedbyZhangWeibangonwhitesilk.Byimperialdecree.”Thisversionof the AlbumofBirdsisrecordedinsection38of theSupplement totheShiquBaoji(Shiqu BaojiXubian）:JiangTingxi'sAlbumof Birds,collaborativelycopiedbyYuShengand ZhangWeibang,onsilk.Eachof thefirstelevenvolumescontainsthirtyleaves;the final volume contains thirty-two.Eachleaf measures1chi 2cun5feninheight and 1 chi3 cun in width.(approx. 40.1\:cmx41.7 cm,based on Qing dynasty units).The albumcomprisescoloureddepictionsof361birdspecies,withtheimageon the rightandexplanatorytextontheleft,presentedinbothManchuandChinese."
Thealbum alsocontains detailedrecords of thebird name,as wellas colophons composedbyseveralprominentofficialsoftheQianlongcourt,includingFuheng， Liu Tongxun,Zhaohui,Aligun,Liu Lun,Shu Hede,Agui,and Yu Minzhong,notes that"The twelve volumesofAlbumofBirds contain a total of360illustrations. ItisacolouredcopyoftheoriginalversionbyJiangTingxiformerlyheldin the ImperialHousehold.Inthe springof theGengwuyearof theQianlongreign(1750), courtpaintersYuShengandZhangWeibangwerecommanded toproduce this reproduction.emperor alsoinstructedusto write the accompanyingtexts,to be inscribedtotheleftsideofeachpainting.Theprojectwascompletedinthewinterof theXinsiyear(1761)"TheQingPalaceArchives alsocontain records documenting thecompletionofall360illustrations.ln thesixthmonthof the26thyearof the Qianlongreign(1761),anentry states:“Thismonth,theGrand Council submitted90 bird paintings onsilk alongwith90 accompanyingtextsinscribedonsilk.Animperial orderinstructed thattheybemounted into albumleavesbytheRuyi Hall.Byimperial decree.Inthe7thmonth of the sameyear,anotherentrynotes:“The Grand Council submitted60birdpaintingsonsilk,alongwith60silkinscriptionscontainingthe corresponding texts.Finally,inthe10thmonth:“TheGrandCouncil submitted210 birdpaintingsonsilk and210 correspondingtextual inscriptions.Animperialorder wasissuedfortheAlbumofBirdstobemounted intosevenvolumes.Byimperial decree.Uponcompletion,thisversionof theAlbumofBirdswasstoredseparately fromtheoriginal andwashoused intheChonghuaPalace.
Asthissetof theAlbumof Birdswasa directcopyof JiangTingxi'soriginal,both YuShengandZhangWeibangwererequiredtofaithfullyfollowJiang'spaintingstyle throughout thereproductionprocess.Consequently,althoughtheworkwaspainted bytwodifferentcourtpainters,thevisualstyleremainsremarkablyconsistent.This stylisticcoherenceprovidesmodernresearcherswithavaluablepointofreference forstudyingJiangTingxi'soriginalAlbumofBirds.
AftertheQianlongreign,nofurtherrecordsofreproducing theAlbumofBirds appearin theQingCourtArchives.However,inventoriesof the album continued tobemaintaineduntilthefallof theQingdynasty,thoughtheselaterrecordsdo notdistinguishbetweentheoriginalbyJiangTingxiandthelaterreproductionbyYu Sheng andZhang Weibang.
In the 6thmonth of the14thyearof theDaoguangreign(1834),anentry notes:The ImperialStudysubmittedasetofsuperioralbumleaves..AlbumofBirds,twelve volumes.Giventhelocation,itislikelythatthisentryreferstoJiangTingxi'soriginal version,whichappearstohaveremainedhoused in theImperial Study.In the3rd month of the 4thyearof theXianfengreign(1854),another record states:“The eunuchPingshun conveyed animperialorder,fourboxescontainingtheAlbum of Birds(twelve volumesintotal) and twoboxes of the Album of Beasts(sixvolumes) weretransferredfromtheChonghuaPalaceto theShufangStudio.Basedonthe storagelocation,thisrecord likelyreferstotheversionbyYuShengandZhang Weibang.EvenfterthefalloftheQingdynasty,referencestotheAlbumofBirds continued.In4thmonthof the12thyearof theXuantongreign(1920),afterthe abdicationof thelastemperor,Puyi,whoretainedhisimperialtitle andcontinued toresideintheForbiddenCity,theinnercourtadministrationremained inoperation. TheYongziAlbumrecorded:“Item no.238:Album of Beasts,sixvolumes;item no. 239:AlbumofBirds,twelve volumes.Thisentry likelyreferstotheversionbyYu and Zhang.
61
Jiang Tingxi (1669-1732) AnImperialManualofBirds
Oriental Scops Owl, Male Great Hornbill, Turkey, Blyth's Tragopan,
Great Egret, Northern Lapwing, and Eastern Osprey
Ink and colour on silk,a set of seven folding album leaves,each inscribed
to title slip and with two red artist's seals, Blyth's Tragopan signed by the
artist,each 41cmx41cm ：
Provenance:Major Iain Menzies (1895-1979),and thence by descent.
蔣廷錫（1669-1732）《鳥譜》
設(shè)色本
款識：臣蔣廷恭。
鈴?。骸赋纪ⅰ梗ㄖ彀祝?、「朝朝染翰」（朱）
200,000-400,000
感大衛(wèi) 3 新一人科洪精修學(xué)務(wù)科移社 間者云尾相色
Oriental Scops Owl
Included in Bird Album by Jiang Tingxi,VolumeV,the twenty-third illustration.
This bird exhibits black pupils with white orbital rings. The beak is black, and the cheeks are pale yellow. From the crown of the head to the back, the plumage is bluish-grey, with a black base subtly overlaid by white and yellow shading.The feather shafts are black, and the feather surface is speckled with black dots, interspersed with earthy tones. The lower back is earthy yellow, marked with a sequential pattern of round spots. The scapulars and wing feathers are primarily black, interwoven with red and yellow markings that produce a rich and variegated appearance. The wingtips are bluish-black, with small white edges faintly visible. The tail feathers are bluish-grey, featuring irregular mottling and crosswise black markings, arranged in a bilaterally symmetrical fashion. From the throat to the abdomen, the bird is reddish-yellow, with closely aligned black streaks. The legs are short and bluish in colour.
According to local oral tradition, it is said that in ancient times, two men set out to trade in distant lands. One of them, bearing the surname Wang, became lost. His companion searched the valleys calling his name day and night, but eventually succumbed to hunger and cold. His spirit is said to have transformed into this bird, whose call resembles the repeated cry of“"Wang Gang Ge (王網(wǎng)哥),” especially audible during the night. As a result, local people regard this species as a spiritual or divine bird.
In recent years, sightings of this bird have increased, and a few individuals have reportedly been captured. While the original tale may appear fantastical, similar metamorphosis legends are well-documented in classical Chinese texts—for instance, Bo Qi (伯奇) transformed into Bo Lao (伯); a maiden became the Gu Huo (姑獲) bird; and the myths of Jing Wei (精衛(wèi)), D u Y u (杜宇)bird, and the mythical creature Zhi Zhen (鷹熄) all represent cases of spiritual oremotional transmutationintobird orbeast.
The notion that entities emerge from nonexistence suggests that all phenomena must originate from a cause. If one's sincere thoughts can give rise to transformation into physical form, it is not entirely implausible.Therefore, such accounts cannot be categorically dismissed.
為物’理或有之’不可盡證也。 宇思婦、熄變幻之’見著書冊。大凡物之自無而有’必有所始。精誠所感’化 來潮有之’頗有捕得者。近乎怪巽’然伯奇之為伯’少女之為姑獲’精、杜 不勝寒而沒°其魂化爲此鳥’啼聲云「王罔哥’唯於夜中間聲。人以為神鳥也。年 人云：昔有二人結(jié)伴行商於外’其一王姓者散失°一人尋其’日呼其字於山谷間’ 。尾毛青灰’量紋理橫黑斑’雨雨相對。頷至腹赤黃色’黑紋連比°短青足°土 色°背下土黃’斑相次°膊、翅黑質(zhì)’赤黃相間’極其斕斑。翅尖青黑’間露微白 王罔哥’黑睛白眶’黑嘴’米黃。頂毛至背’質(zhì)黑白黃暈’黑蒸黑點’以土
黑尾青黑爪 皆有白毛前純黑腹白色長 上息低所有短 牙旁帶黑暈形狀黑頭黑頭眼 有骨冠高自半至頂色如黃 夢克雞克赤晴黑白重眶米黃臣
Male GreatHornbill
Illustrated in Bird Album by Jiang Tingxi, Volume V, the twenty-fifth illustration.
This bird possesses bright red irises, with a distinctive dual-coloured orbital ring consisting of concentric black and white layers.The beak is pale yellow in colour, massive in size, and exhibits prominent zygomatic ridges.A large casque extends from the middle of the upper mandible to the crown of the head, rising in a pronounced arc. The casque is ivory-yellow in hue, accented with dark shading on both sides. Its form is striking and highly distinctive, differing markedly from the morphology of typical avian species. The head and neck are uniformly black. Patches of white feathers are present behind the eyes and above the throat on both sides.A small tuft of short, soft down feathers hangs from beneath the throat. The back, scapulars, wings, and tail feathers are all black. However, white feathers are visible on the shoulders, wing tips, and edges of the tail, providing a sharp chromatic contrast. The anterior chest is solid black, while the abdomen displays a greyish-white coloration. The tail feathers are long and slender, uniformly black. The feet and claws are bluish-black.
足爪° 膊、翅、尾俱黑’肩上丶翅尖及尾皆有白毛。臆前純黑’腹白色。長黑尾’青黑 旁帶黑量’形狀巽°黑頭黑’眼後、上各有白毛一片°下有短茸垂出°背丶 弩克鷄克’赤睛’黑白重眶°米黃巨嘴’有巨骨。冠高起’自嘴半至頂’色如黃牙’
黑下白紅青白爪 根及尾俱淡黃暈黑節(jié)照毛末上 赤黑質(zhì)深黑期毛白質(zhì)著赤花照翅 有紅蕾大小磊磊連末至背腹俱 過收如故頭頂紅貨青點頭上 青紅閃爍無定開張其尾亦如屏然性 鼻亦赤伸而下垂長可五六寸其色 有肉鼻長寸許怒甄肉色先紅肉 有垂殷紅色下連曾黃白散根 洋難雄者黑睛赤黑單白頰白耳
Turkey
Included in Bird Album by JiangTingxi,VolumeVI, the twelfth illustration.
The male turkey is characterized by black pupils encircled by irises with a reddish-black hue. The cheeks are a mixture of pale blue and white, while the ear coverts are pure white.A pair of conspicuous, pendant wattles extends from beneath the lower mandible to the upper breast, displaying a vivid crimson coloration. The plumage of the chest is a blend of pale yellow and white.A fleshy protuberance is present at the base of the beak, and the snood (fleshy appendage over the beak) may reach up to one cun (approximately 3 centimetres) in length. When the bird is aroused or agitated, the exposed skin on the neck and chest rapidly turns bright red, and the snood also becomes engorged, elongating and drooping downward—at full extension, it may reach five to six cun (roughly 15 to 20 centimetres).The coloration of the snood exhibits iridescent red tones, which fluctuate in intensity. When expanded, the tail feathers fan out in a manner resembling a folding screen. However, in moments of heightened excitement or physical exertion, the tail is often held close to the body. The crown of the head is covered in red plumage, marked with light bluish-green speckles. Along the upper neck are numerous red nodular protrusions resembling flower buds, which vary in size and extend in a continuous line down to the juncture of the neck and back.The abdominal feathers are dark reddishblack, delineated by deep black feather margins. The remiges are white-based, interspersed with bluish-grey and reddish patterned markings. The dorsal side of the wings is black, while the ventral wing feathers are white. The legs are ochre-red, and the claws are mottled bluish-white.
及尾’俱淡黃暈’黑’點’毛末上黑下白°赭紅足’青白爪° 紅蕾’大小磊磊’連綴頂末至背。腹俱赤黑質(zhì)’深黑。毛白質(zhì)’赤花點。翅根 青紅閃爍無定。開張其尾’亦如屏’然性過收如故頭。頂紅質(zhì)’粉青點。上有 根有肉’鼻長寸許。怒則甄臆肉色先缸’肉鼻亦變赤’伸而下垂’長可五六寸’其色 洋’雄者黑睛赤黑暈’縹白’白耳°有垂囊’殷紅色’下連胸’臆黃白嘴。嘴
毛粉紅足小雄類也出福建建 福 一片中隱白延雨旁仍 北漢民花限表#行 赭 黑相 福 白二色以黑花斑毛末 質(zhì)量 單緣以赤黑肩毛 赭黃斑暈如灑紅 間 明 以里 皆 黑 尖紅毛毛
Blyth's Tragopan
Included inBirdAlbum by Jiang Tingxi,VolumeVI, as the thirtieth illustration.
This species is characterized by black pupils with irises surrounded by a bluish-black halo. The face is bright red.The beak is bluish in tone, with a white tip.The crown feathers are black, and both cheeks and the throat are deep red.A prominent red stripe of elongated feathers extends from behind the eyes, continuing alongside similarly elongated crest feathers from the crown, reaching toward the rear of the head and neck.A broad patch of red feathers covers the nape, within which a white spot is partially concealed. On either side, black feathers are interspersed among the red. The dorsal plumage displays irregular clusters of red and white spots with gradient blending, resembling an arrangement of scattered pearls and gemstones.The edges of these feathers are tinged with reddish black. The shoulder feathers exhibit interwoven red and black pigmentation.The remiges and wing coverts are dark in base colour, adorned with ochre-yellow blotches in a diffused pattern, with red and white-tipped feather ends dispersed across the wing surfaces.The tail feathers are a mixture of ochre and white, interspersed with black mottled plumage, and terminate in red-and-white coloration.The breast and abdomen are pale ochre, with the lower abdomen bearing fine interspersed red and black feathers. The legs and claws are pale pink.
This species belongs to the family Phasianidae (pheasants) and is native to southern China, specifically in Jianning Fu in Fujian Province.
足爪’雉類也’出福建建寧府° 尖。尾赭白二色’以黑花斑毛’末亦作紅白色°臆腹淺赭色’腹下間紅黑毛。粉缸 瓚參錯’皆紅白相暈’緣以赤黑°肩毛紅黑色’翅黑質(zhì)’赭黃斑量’如灑紅白毛 毛俱長’出腦後上°紅毛一片’中白斑’雨旁仍間以黑毛°背毛大小叢斑’如珠 山花雞’黑睛青黑暈’紅’嘴白喙尖°黑頂’深紅、。目後紅毛一道’與頂
GreatEgret
Included in Bird Album by Jiang Tingxi, Volume IX, appears as the seventh illustration.
Also known historically as Bai Han(白翰）and Bai He Zi(白鶴子).
This bird possesses black pupils, with irises encircled by a bluish halo.The cheeks are yellow, and the bill is black. The neck is long and slender, and a tuft of elongated ornamental feathers hangs from the upper chest. The entire plumage is pure white. The tail is relatively short. The tibiotarsus and tarsus are long and slender, covered with bluish-black feathers, and both feet and claws are also bluish-black. In terms of overall body proportions, this species closely resembles the Qing Zhuang (青駐) in the same body type. This bird is also referred to as Bai Han(白翰）and BaiHe Zi(白鶴子).
腔’青黑足爪°身輿青莊相等°一名白翰’亦呼白子 白莊’黑睛青暈’黃’青黑嘴。長’胸有長毛垂出°通身白色’短尾’青黑長 白莊’一名白翰’一名白子° 白莊’收錄於《蔣廷蜴鳥譜》第九冊’為第七幅。
尾上白下黑是殷紅色 膊毛深青黑色腹下白帶紋 翅褐翅尖黑翅根間露白毛 至 有黑毛數(shù)根動而不垂眼旁 三和尚黑長啄赤黑睛黑頂土白色至臆深黑色背
Tirnga vanellus (Northern Lapwing)
Included inBird Album byJiang Tingxi,Volume IX,the twentieth illustration.
This bird species possesses a black, slender bill. The eyes are described as reddish-black in coloration.The crown is black and bears several upright, stiff black feathers, which do not droop. The plumage extending from the sides of the eyes to the nape is pale bluish-white. Feathers from the throat to the breast are deep black. The back and wings are covered in dusky brownish-blue plumage, with the wing tips being solid black. White feathers are faintly visible at the base of the wings. The scapular region is marked by dark bluish-black plumage. The lower abdominal region is white, interspersed with bluish-grey markings. The upper portion of the tail is white, while the underside is black.The legs are bright red.
尾上白下黑’足殷紅色° 至臆深黑色’背翅褐’翅尖黑’翅根間露白毛’膊毛深青黑色’腹下白’帶紋’ 三和尚’黑嘴’長喙’赤黑睛’黑頂’頂有黑毛數(shù)根勁而不垂°眼旁至白色’ 三和尚 三和尚’收錄於《蔣廷蜴鳥譜》第九冊’爲第二十幅。
其實魚鷹當以水為正也 有青有翠有白有斑古今詩文皆假借魚之名 虎翠奴之屬其大者有海海鵡之屬其色 案今俗麗魚鷹種類甚多其小者有翠碧狗 未亦白一名水鸚一名腐 為食鷹漠書揚雄傳白似頭有白毛尾 雌相得而有能翔水上捕魚食江表人 愣故之鵬類也似而土黃色深目好時雄 目云一名魚一名鵬雞李時珍日狀可 云鸚大小如深目目上骨露幽州之本草 江東呼為好在江渚山這食魚者也雅注 腹下厭白色青白是黑不常在水過食即詩注 白雜毛背翅尾俱黃色頭下至白色 魚鷹大小形狀類鷹深黃目黑勾吻頂上矗起
Eastern Osprey
Included in Bird Album by Jiang Tingxi,Volume IX, the twenty-ninth illustration.
Also known historically as Shui'e(水號),Diao Ji (雕),and Bai Jue (白).
This bird is similar in both size and general form to members of the eagle family.The eyes are deep yellow, and the beak is black with a strongly hooked tip.The crown feathers stand erect and are primarily pale greyish-white,interspersed with darker markings. The plumage from the lower neck to the chest is pale grey, while the abdominal region is greyish-white. The dorsal surfaces—-including the back, nape, wings, and tail—-are coloured in shades of dusky yellow-grey.The legs are bluish-white, and the claws are black and sharply curved like talons. It frequently inhabits watersides, feeding on fish.According to poetic annotations, it is known in Jiangdong as E (號), favouring river islets and mountain edges for hunting fish. The Erya（《爾雅》the earliest Chinese dictionary） states:“The E ((00)/(5),(6)/(5)) is about the size of a Chi (\mathbb{E}\mathbb{E}) , with deep-set eyes and exposed bones above the eyes; in Youzhou, it is referred to as Zhi(甕)"The Bencao Gangmu（《本草網(wǎng)目》Compendium of Materia Medica) notes: "The E (） is also called Yu Ying(魚鷹） and Diao J i (鵬).”Li Shizhen(李時珍）explained: "The E () has a fierce appearance, hence its name, and it belongs to the eagle family. It resembles a hawk but is earth-yellow in colour, with deep-set eyes, preferring to fight. Males and females are distinct. It can soar above water, capturing and feeding on fish. Jiangbiao people call it theYu Ying(魚鷹)"The Hanshu Yangxiong Zhuan（《漢書·揚雄傅》 Book of Han, Biography of Yang Xiong) notes:“The Bai Jue (白) resembles a hawk, with white feathers on its head and the end of its tail also white. It is also known as Shui E (水號) or Yu Ying (魚) Currently, it is generally recognised that, there are many species referred to as Yu Ying (魚鷹). Among the smaller varieties are species such as the Bi Cui (翠碧), the Yu Gou (魚狗),the Yu Hu (魚虎),and the Cui Nu (翠奴).Among the larger species are the Hai Hu (海),the Hai Yao (海),and the Lu Ci (茲),exhibiting colours that range from blue, green, white, to mottled patterns. Classical and modern poetry often use the name \mathit{Y u} Ying (魚鷹) metaphorically,but in fact,the true Yu Ying (魚鷹) should be properly identified as the Shui'e(水號).
魚獻’收錄於《蔣廷鰨鳥譜》第九冊’為第二十九幅°
魚鷹’大小形狀類鷹’深黃目’黑勾吻’頂上矗起白毛。、背、翅、尾俱 魚’—名水’—名雕雞’—名白“詩文皆假借魚鷹之名’其實魚鷹當以水為正也° 翠奴之。其大者’有海’海、之’其色有青、有翠、有白、有斑。古今 一名水’一名魚鷹。」案今俗所’魚鷹種類甚多’其小者有翠碧、魚狗、魚虎 魚食’江表人呼為食魚鷹。一《漢書·揚雄傅》注：白似鷹頭有白毛’尾末亦白° 故之鵬類也’似鷹而土黃色’深目’好峙’雄雌相得’而有別°能翱翔水上捕 之°」《本草目》云：「’一名魚鷹’一名雞°」李時珍日：’狀可’ 為’好在江渚山食魚者也°《爾雅》注：「云大小如’深目’目上骨露’幽州 黃色’下至臆白色’腹下灰白色’青白足’黑爪。常在水食魚’即詩注江東呼
62
Jiang Tingxi (1669-1732) AnImperialManualofBirds
Golden Pheasant,Silver Pheasant, Great Spotted Woodpecker,Female Great Hornbill, Frizzle Chicken, Spruce Grouse, Chukar Partridge, Grey Heron, Black-headed Heron, Great Bustard, Zigzag Heron, Grey-headed Lapwing Ink and colour on silk, a set of twelve folding album leaves, each inscribed to title slip and with two artist's seals,each 41cmx41cm ：
Provenance:MajorIainMenzies (1895-1979),and thence by descent.
蔣廷（1669-1732）《鳥譜》
設(shè)色本
鈴?。骸赋纪ⅰ梗ㄖ彀祝?、「朝朝染翰」（朱）。來源：伊恩·孟席斯少校（1895-1979），其後由家族承
300,000-500,000
們云有形如小頭項張走金色身 曰錦難注云出南越山中歲探捕之為王者冠服之節(jié) 萬云將如來矮 難成王時蜀人麒之云文萬若暈堆是注云鳥有文 而小冠背毛黃腹下項色鮮明逸周書曰文萬若彩 為首華即雉也爾雅雉又萬天雞云似山 錦難雄者黑目黃睡米黃黃頰細紅點頂有長縷黃色
Golden Pheasant
Included in The Bird Album by Jiang Tingxi, appears as the first illustration in the volume V.
The golden pheasant is also known by several historical and classical names, including Wen Han (文),Hua Chong (華),Jun Yi (),Bi Zhi (雉),Tian Ji (天),and BieYi ().
Male golden pheasants possess black pupils with yellow eye-rings, a pale yellow beak, and yellow cheeks marked with fine red dots. The head is adorned with long crest-like feathers that are vividly yellow.The neck feathers are alternating red and yellow, edged in black; near the back of the neck is a patch of emerald green feathers, also bordered in black, arranged sequentially in a pattern resembling interlocking jade pendants. The chin, breast, and belly are all bright red. The back is covered in reddish ochre feathers transitioning into apricotyellow. Shoulder feathers are emerald green, while the remiges exhibit hues of crimson and lotus-root pink.The tail feathers are extremely long, dark bluish-black in base colour, and densely covered in pale circular spots, symmetrically arranged to produce a painting-like visual effect.At the lower back, over ten fine red feathers overlay the tail, fanning out like decorative ribbons. The legs are yellow and bear spurs.
Female golden pheasants have black eyes with dark rings, pale rice-yellow beaks, and no crown. The cheeks are bluish-red, and the head, neck, back, and rump are all dark bluishblack. The wings are blue, subtly marked with white spots. The breast and belly are bluishwhite, and the tail is marked with horizontal white bands. Compared to the male, the tail is slightly shorter. The feet and claws are blue-green and lack spurs.
In the Yiji (《益稷》 Book of Documents) states:“The mountain dragon, the Hua Chong (華蠱)"A commentary explains that Bi () was the foremost figure among the“seven ornamented tassels" (冕流七章) in imperial ceremonial attire, and the so-called Hua Chong refers specifically to the golden pheasant.The Erya ( 《葡雅》 ,the earliest Chinese dictionary) identifies:"Bi Zhi, also called Han, the celestial fowl (Tian Ji)"An annotation adds:"The Bi resembles a pheasant but is smaller, with a yellow crest and dorsal feathers, a red underside, and a green and brilliant neck." The Book of Zhou describes: "The Wen Han looks like a multi-coloured pheasant." In a memorial from the reign of King Cheng of Zhou, it is said: "Wen Han resembles a Hui Zhi (雉)” a multi-coloured pheasant. Kong Zhao's annotation comments: “It refers to birds possessing vivid plumage." Zheng Qiao posits that Han belongs to the pheasant family and was native to Qin and Shu regions (modern Shaanxi and Sichuan), where it was highly valued for its vibrant plumage. The Bencao Gangmu (《本草網(wǎng)目》, Compendium of Materia Medica） categorizes golden pheasants into two types: Bi and Hua Chong. It is also called Jun Yi (編)—-noted for its elegant appearance and body-wide coloration; the other is Han, which is smaller and primarily displays its colours on the back.These birds exhibit five interwoven colours—blue, yellow, red, white, and black—radiating like brocade.The male displays this five-coloured brilliance, while the female is largely dark.The Zuo Zhuan(《左傅》 Commentary of Zuo) records: "The Dan Niao (丹烏) clan presided over gates” with a note stating that Dan Niao refers to the Bi pheasant, which appears around the onset of autumn and disappears by winter, symbolizing seasonal transitions. In Erya Yi (《爾雅翼》 Expanded Erya), it is stated: “The Bi is also known as Bie Yi; in the Shudu Fu (Ode to Shu), it is likewise called Jun Yi ( ) The Qin Jing （《禽經(jīng)》, Treatise on Birds） notes:“Birds with ornamental plumage on the belly are called golden pheasants,”' and adds: "They originate from the mountains of Southern Zhao (modern Yunnan), where they are annually hunted and used to adorn the robes and crowns of emperors."The Guihai Yuheng Zhi（《桂海虞衡志》,Well-balanced Records of Guihai) records: "in the southern regions (modern Yunnan), golden pheasants resemble small chickens. The feathers atop their heads are golden, and their bodies display alternating bands of red and yellow. The plumage is exceptionally colourful, and the eyes are faintly white."
色’身紅黃相間’極有文彩’目微白°「 山中’探捕之’為王者冠服之飾。一《桂海虞衡志》云：南中有錦’形如小雞’頭頂髮毛金
翼》云：’蜀都賦之鱉蜴’即殷也°」《禽經(jīng)》云：腹有彩文日錦雞°—注云：出南韶越 文若翠雉。一孔晃注云：鳥有文彩者是也°一鄭樵云：’蓄雉類。秦蜀有之’甚有文 小’冠背毛黃’腹下赤’色鮮明逸。一《周書》日：文若彩雞。一《成王時蜀人獻之疏》云’ 云：冕七章’華為首°」華即雉也°《爾雅：雉又’天雞°一注云：似山雞而 見’白臆腹’尾有橫白紋°尾比雄者稍短’青足爪無距°《書·益稷》：山龍華。一疏 綏°黃足有距。雌者黑睛黑眶’米色嘴’無冠。赤’頂、、背、膊俱黑色。翅白點錦雞’雄者黑目黃眶’米黃嘴’黃細紅點。頂有長縷’黃色極鮮。毛赤黃’黑’近背有翠翎紅藕色。尾翎極長’黑質(zhì)’白點滿之’勻凈如畫°背末有赤紅細毛十餘蒸’蓋尾披離如 毛一’亦黑色’俱相次如銜塊°、臆、胸、腹俱赤紅色°背毛赤赭’接以杏黃。膊毛翠青丶
雞’收錄於《蔣廷蜴鳥譜》第五冊’為第一幅°
防之客 者間有朱毛亦有黑鵬皆雉類也李 背毛皆以黑為補如水波形其雌 南越羽族之珍素質(zhì)黑章有朱冠者 鶴 故得鵬樓爾雅云白雉南 三者間麗不水 圖經(jīng)云似山難而色白有黑文如鵬即音之轉(zhuǎn)也粵志曰白鵬者
Silver Pheasant
Included in Bird Album by Jiang Tingxi, appears as the second illustrated species in the volume V.
The silver pheasant is also known by several classical names, including “Bai Han” (白), “Xian Ke”(閑客),and“Bai Zhi“(白雉).
According to Tujing (llustrated Records),the silver pheasant closely resembles the domestic junglefowl in general form, but its plumage is entirely white, adorned with black markings resembling rippling waves. Its tail feathers are remarkably long, extending up to three to four feet in length.The bird possesses both a crown and spurs (the latter referring to the bony protrusions on the legs of males used in combat). The beak and claws are bluishblack in colour. Some individuals are noted to have a reddish tinge to their plumage. Its demeanour is composed and tranquil, rarely mixing with more common birds, which is why it was given the name Xian (),a homophone of“l(fā)eisure” (胃),emphasizing its elegant and solitary nature.
The Erya states:“Han () refers to the white pheasant" In southern regions of China, the character“"'is often pronounced similarly to“寒,”" thus the term“Bai Han"(白韓) denotes a pheasant with beautiful plumage —undoubtedly referring to this species. The name “Xian" (）is considered a phonetic evolution of“Han”().
The Yue Zhi further records:"The white Xian is a rare and treasured bird species in the region of Lingnan (Southern Yue). Its plumage is pure white, ornamented with black markings. Males with red crests have back feathers bordered in black, forming wave-like patterns." Females may also exhibit red plumage, or sometimes appear with dark variegated coloration. Both male and female specimens are classified within the broader pheasant family.
The Northern Song scholar Li Fang (925-996) referred to this bird as “Leisure Guest' ( 客), a term that underscores its calm disposition and refined temperament—likening the bird to a noble recluse or gentleman scholar in human society.
珍。素質(zhì)黑章’有朱冠者’背毛皆以黑爲’如水波形。其雌者’閑有朱毛’亦有黑鵬’皆雉類 —者’羽毛之美’當作「白’鵬一即一音之轉(zhuǎn)也°《粵志》日：白鵬者’南越羽族之 行止閑暇’不於凡鳥’故得「—。按《爾雅》云：「’白雉°—南人呼「閑一字如寒一 《圖經(jīng)》云：似山雞而色白’有黑文如漣漪。尾長三四尺’體備冠距’嘴爪青黑色。亦有丹者。
白’收錄於《蔣廷蜴鳥譜》第五冊’為第二幅°白麝’一名白’一名閑客’一名白雉°
下微白近尾紅黑足不 下兩右紋頂 近黃 花啄木赤黑晴白眶白頰黑嘴心 媽白飛黑 逐節(jié)相次翅毛碎點皆 細紋相聚成花背膊細斑左直
GreatSpottedWoodpecker
Illustrated as the tenth illustration in Volume V of Bird Album by Jiang Tingxi.
The Great Spotted Woodpecker is described as having dark reddish-black irises, with prominent white orbital rings and white cheeks.The beak is black, with a slight pale yellow coloration near the base of the lower mandible, close to the throat. The plumage on the crown, nape, back, wings, and tail is predominantly black, patterned with white stripes and spots of varying forms. The crown and nape are covered with densely arranged fine stripes that cluster to form flower-like patterns. On the back and shoulders, the white markings appear as slender linear stripes arranged in segmented sequence. The wings bear numerous small circular spots, symmetrically aligned in pairs on either side. The central pair of tail feathers are solid black and unmarked,while the shorter lateral rectrices are adorned with white spots, slightly larger than those on the wings. The area beneath the throat is rufous, interspersed with fine white feathers. The upper breast exhibits a pale reddish hue, while the lower abdomen is faintly whitish, transitioning to a deep crimson shade near the base of the tail.The legs and claws are uniformly black.
