Tips：最常见的例子是韦特牌中的圣杯王牌。圣杯王牌借鉴了基督教对于圣杯的描述。五条溪流代表五条伤口，基督在被钉在十字架上时伤口流出的血，为世界带来永生。Waite更喜欢将圣杯的形象作为伊甸园的喷泉，从喷泉中留出了四条河流。因此，他只看到四条溪流。

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Waite对Pamela Colman Smith塔罗牌的误解

正如在Waite-Smith Tarot（韦特塔罗）作者1909年的著作中，最后一篇文章中提到的，我经常在书籍和文章中看到Waite被称为塔罗牌的设计者。我并不认为设计者一词应该适用于Waite。设计，在艺术角度的含义，就是为艺术作品创作一个可视化计划，也就是为创作而设计。人们不能用文字描述而设计一个视觉艺术作品，而Waite并不以他的视觉传播天赋而出名。他聘请Smith设计塔罗牌，因为她确实拥有设计的天赋。而这一问题就变成了Waite在这一过程中的参与程度究竟如何呢？

在他的回忆录中，Waite指出，他特别注意三个王牌的方向，但我们不能假设他决定/支配了所有塔罗牌的牌面。最有可能的是，对于大阿尔卡纳（Major Arcana），韦特来描述他想要的每张卡片的设计，完成它应该包含的象征意义和每个符号的意义，然后，他走出这些画面，让Smith在她的自发和直观的"庄园"里自由发挥。Waite似乎给Smith更多的自由表达她在创作中的远见卓识，创造了56张小阿尔卡纳，这也是大部分工作的组成部分。当作品完成的时候，Waite看着每一张牌，并为他的书《The Pictorial Key to the Tarot》写了相近的描述。

在这种在艺术作品出现后再次描述的过程中，Waite有时会曲解塔罗的深层含义。但对于韦特塔罗的读者们来说，并不会考虑到这些，于是我经常被要求举例。因此，我将在这里描述字面意义和艺术之间的一些区别。

【圣杯王牌】

最常见的例子是韦特牌中的圣杯王牌（Waite-Smith Ace of Cups）。Smith描绘了一只手托着圣杯从云中涌出，一只鸽子正在圣杯中放置一块圣体，五条溪流从圣杯中涌出，像喷泉一样涌入下面的池塘中。在对于牌面的描述中，韦特写道，“从云中伸出的手上托着杯子，杯子上涌出四条溪流”。

可以看出，圣杯王牌借鉴了基督教对于圣杯的描述。杯子是基督教圣杯的寓言形象。鸽子是圣灵的标准象征，而有十字架图案圣体基督的身体。圣杯上标有字母“M”代表玛丽亚。圣杯被描绘成玛丽亚的身体，是接受基督身体和血液的容器。五条溪流代表五条伤口，基督在被钉在十字架上时伤口流出的血，为世界带来永生。看来，Waite更喜欢将圣杯的形象作为伊甸园的喷泉，从喷泉中留出了四条河流。因此，他只看到四条溪流。

（Tracy的小科普：耶稣受难时的伤口：两手，两脚和肋骨处，这些被统称为：基督五伤。在天主教会的艺术中，我们把五伤用几种图案表示出来：1、荆棘与三根钉子 2、西番莲 3、五伤鸟（鹈鹕） 4、五滴血 这些图案，都在表示着五伤。）

【圣杯九】

下一个例子对于大多数读者来说不太明显。在圣杯九中描绘了一个男人大胆地坐在画面中心面对我们，双腿张开，双臂交叉。在他身后是一个弯曲的桌子，桌子上放有九个杯子。Smith把他描绘成一个胖胖的人，并且在脸上挂着自鸣得意的笑容。他的身体姿态是防御和对抗的典型例子，仿佛他正在守卫他的杯子，这显然有些描绘过度了。在金色黎明协会的占卜解读中，他似乎表现出胜利，成功和优势，但是Smith用一种近乎自私状态描绘了这个男人。然而，Waite似乎并没有意识到这些性格色彩，而是把这个角色描述为“一个很好的人物”，他“尽情享受着内心的满足感”。

【宝剑六】

宝剑六描绘了一名男子用篙撑船。在他面前，坐着一个女人和一个孩子，在他们面前六根直立的剑似乎卡在船上。这些人物背对着我们，他们的头仿佛悲伤的低垂着，考虑到他们身旁沉重的宝剑以及整体设计的沉重感觉，这种悲伤的确是适当的。船右侧的水是波涛汹涌的动荡，左边的水面却非常平静。而Waite似乎没有注意到水的质地差异。他只说“路线是平缓的”，尽管有相当大的宝剑，但“货物很轻”。

【宝剑侍从】

在Smith绘制的宝剑侍从中，树木和云彩在风中飞舞，鸟儿飞翔，大地仿佛在旋转。画面中，的一切似乎都在移动，除了侍从自己，他站在正在升起的大地中心，重心落在一只脚上，高举着他的剑，越过他的肩膀望向远方。然而，Waite说，这里的侍从是在“快速行走当中”。即便他的不承重的右腿，正在准备向前移动让他一步步上升，而宝剑侍从并不是一个关于行走的描述，而是在这混乱的过程中，在一个静止的片刻中停顿下来。

【星币七】

Waite说星币七中的人是“一个年轻人倚靠着他的权杖”，看着“附属于他右侧树丛上的七颗五角星”。“Waite错过了一个小的细节，他所倚靠的并不是权杖，而是锄头的手柄。有了这个细节，现在的图片现实，这个人已经在他的右边栽培了绿色植物，他正在欣赏他的劳动成果。而绘制者Smith对这张卡片的灵感可能是一幅米勒在1859年的画作，叫做 “Man with a Hoe”《扶锄的男子》。

(Tracy觉得这里作者可能误把年份写错了，1859年的作品是《晚钟》，《扶锄的男子》是米勒1863年的作品。)

Jean-Francois Millet Man with a Hoe

【星币八】

Smith描绘出的星币八是基于Sola Busca Tarot中的星币六，代表一名金属工人，像圆盘一样的盾牌，就像那副牌封套上的那样。在Smith的设计中，工匠坐在长凳上，举着锤子雕刻钱币上的五角星。当他完成后，他将它们挂在一块木板上，可能是为了出售而展示它们。Waite称他为“一名在雕刻石头的艺术家”，但是如果是石头的话，图片中的钱币过于单薄了，并且他的工作台也很轻，星币们被一根绳子或金属线悬挂着，很难附着在墙上，或许悬挂它们的线很难承受石头的重量，并且它们是黄色的，它们象征了黄金。在这里，Waite希望他成为在星币三里所描绘的三个石匠的学徒，他只是在从事星币三中三个人创造出的作品的生产工作。（翻译的有些绕口了，希望能看懂。）

Waite对Smith所绘制插图的描述并不明确的还有其他例子，而在以上我列出的就是我非常不同意Waite对图片解释的几个实例。我觉得这些例子表明，Waite不是这些设计的作者，他只是在完成之后才对它们发表评论。所有这些例子都是四组小阿尔卡纳中的塔罗牌，但也有与Waite的描述有差异的大阿尔卡纳的例子。但是，由于这个讨论将会涉及更多的信息，所以我将保存下一篇文章。

这篇近四千字的文章翻译完成后Tracy觉得果然信息量好大，下一篇大阿尔卡纳的粗略估算了一下可能会有近六千字的说明，大家表着急。

回复这篇文章，就可以向Tracy发送你对这篇专栏文章的建议，或者提供你的独到的见解。在下一期中或许你会有相当大的贡献呢~ :)

另附原文在页尾

Waite’s Misunderstandings of Pamela Colman Smith’s Tarot

As I mentioned in my last article on the famous, 1909, Waite-Smith Tarot, I often find in books and articles that Waite is referred to as the designer of the deck. I do not believe that the term designer should be applied to Waite. To design, in its artistic meaning, is to create a visual plan for a work of art or to actually create the work. One cannot design a visual work of art by describing it in words and Waite was not known to possess a talent for visual communication. He hired Smith to design the deck because she did possess the talent. The question then becomes; How involved was Waite in this project?

In his memoirs, Waite specifies that he paid special attention to the direction of three trumps but we cannot assume that he had as much control over all of the cards. It is most probable that for the Major Arcana Waite described the design that he desired for each card, complete with the symbolism it should contain and the significance of each symbol, and, then, he would have stepped out of the picture and let Smith work in her usual spontaneous and intuitive manor. Waite seems to have given Smith more freedom to express her visionary talent in the creation of the fifty-six Minor Arcana, which comprised the bulk of the work. When the art was complete, Waite looked at each piece and wrote a description for his book, The Pictorial Key to the Tarot.

That the art came first and the descriptions second, is demonstrated by the fact that Waite at times misinterprets what he is looking at. As this is not always obvious to Wait’s readers, I am often asked to give examples. Therefore, I will describe some differences between the words and the art here.

The most often sited example is the Waite-Smith Ace of Cups. The Waite-Smith Ace of Cups depicts a hand emerging from a cloud holding a chalice. A dove is depositing a host in the chalice and five streams are emerging from the chalice as in a fountain and pouring down to the pond below. In The Pictorial Key to the Tarot, Waite says, “the hand issues from the cloud holding in its palm the cup from which four streams are pouring.”

This is an image that borrows heavily from Christian iconography. The cup seems to be an allegorical image of the Grail. The dove is the standard Christian symbol for the Holy Spirit and the host with the cross is the body of Christ. This Grail is marked with the letter “M” representing Mary. The Grail is being depicted as the body of Mary, which is a vessel receiving the body and blood of Christ. The five streams represent the five wounds, which Christ bled at his crucifixion to bring eternal life to the world. It appears that, Waite would prefer to connect the Grail to the fountain in the center of Eden from which four rivers flowed. He, therefore, saw only four streams.

The next example will be less obvious to most readers. On the Nine of Cups Smith depicts a man sitting boldly in the center facing us with his legs spread and his arms folded. Behind him is a curved table with nine cups. Smith has depicted him as fat with a smug smile. His body gesture is a classic example of defensiveness and defiance, as if he is guarding his cups, which are obviously too many for one person. Of the listed divinatory associations he seems to be illustrating victory, success, and advantage, but Smith has depicted these in an unfavorable light, as something selfish. However, Waite seems unaware of these overtones and describes the character as “a goodly personage” who “has feasted to his heart’s content.”

The Six of the Swords depict a man propelling a boat with a pole. In front of him, sit a woman and a child and in front of them six vertical swords seem to be stuck into the boat. The figures have their backs toward us and their heads are bowed as if in sorrow, which is appropriate considering their heavy load of swords and the overall heaviness of the design. The water on the right side of the boat is choppy and turbulent and the water to the left is calm. Waite seems not to notice the differences in the texture of the water. He only says that “the course is smooth” and, in spite of the oversized swords, that “the freight is light.”

On Smith’s Page of Swords the trees and clouds are blowing in the wind, birds are flying and the ground seems to be swirling. Everything in the design seems to be moving except the page himself, who stands defiantly in the center on a rise in the earth with his weight on one foot holding his sword aloft and looking over his shoulder. Waite, however, says that the page is “in the act of swift walking.” Even if his right leg, the one not bearing weight, is preparing to swing forward and allow him to step off the rise, this is not a depiction of walking but of a pause in the walk a moment of stillness in the midst of this commotion.

Waite says that the man on the Seven of Pentacles is “a young man leaning on his staff” and looking “intently at seven pentacles attached to a clump of greenery on his right.” Waite has missed a small detail at the bottom of the “staff” that depicts the head of a hoe. The pole is not a staff but the handle of the hoe. With this detail added, the picture now suggests that the man has cultivated the greenery on his right and he is admiring the fruits of his labor. Smith’s inspiration for this card is possibly an 1859 painting by Millet called “Man with a Hoe.”

Smith’s image for the Eight of Pentacles is based on The Sola Busca Tarot’s Six of Coins which represents a metal worker raising the shield like disks that are the suit symbols for that deck. In Smith’s design, the craft worker is sitting at a bench and using a small hammer to chase the stars on the metal pentacles. When he is done, he hangs them from a board possibly to display them for sale. Waite calls him “an artist in stone at his work.” But, the pentacles are too thin for stone, his bench is too light, the pentacles are hung by a cord or a wire that would be difficult to attach to stone and too weak to hold its weight, and they are colored yellow, representing gold. Waite wanted him to be the apprentice to the artist on the Three of Pentacles, who is carving stone. The man is doing production work in contrast to the individually creative work of the artist on the Three of Pentacles.

There are other examples in which Waite’s descriptions of Smith’s illustrations seem vague or uncertain but the ones I have listed here are examples where I strongly disagree with Waite’s interpretation of the picture. I feel that these examples demonstrate that Waite was not the author of these designs and that he only commented on them after they were complete. All of these examples are cards from the four minor suits but there are also examples of discrepancies in Waite’s descriptions of the trumps. But because this discussion will be more involved, I will save it for my next article.