According to writer and poet Charles Cammell (1890–1968), Aleister Crowley (1875–1947) believed that through his influence and guidance, he could significantly improve an artist’s nascent abilities. Crowley claimed success for the musical achievements of Leila Waddell (1880–1932), the poetry of Victor Neuburg (1883–1940) and the artistic talents of Frieda, Lady Harris, née Bloxam (1877–1962). In 1938, Crowley invited Harris to illustrate The Book of Thoth, his last major magical work, designating her “artist executant.” Their partnership extended far beyond the requirements of the Thoth Tarot paintings: not only did Harris become Crowley’s magical pupil; they formed a strong and enduring friendship that lasted to the end of Crowley’s life. Harris had already achieved moderate success as an artist, but Crowley showed her how she could express esoteric concepts in her paintings, thereby creating “something completely new in art” (Harris to Crowley, Letter, 10 December 1940). Harris’s correspondence with Crowley shows that she eagerly embraced his guidance, determined to manifest the Tarot images in accordance with his vision. At the same time, she applied the same techniques to her own works and came to the realisation that art was the true basis of her spiritual path. Using extracts from Crowley’s and Harris’s correspondence, Crowley’s diary entries, and examples of Harris’s artwork, this article will argue that in the case of Frieda Harris, Crowley did indeed draw out her nascent artistic skills, and in doing so, enabled her to manifest Tarot designs, which on his own admission, “any given card is something beyond anything I had ever contemplated” (Crowley to Harris, Letter, 25 January 1939).

中文翻译：

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“艺术中的全新事物”

根据作家兼诗人查尔斯·卡梅尔（Charles Cammell，1890-1968）的说法，阿莱斯特·克劳利（Aleister Crowley，1875-1947）相信，通过他的影响和指导，他可以显着提高艺术家的新生能力。克劳利声称，莱拉·瓦德尔（Leila Waddell，1880-1932 年）的音乐成就、维克多·诺伊堡（Victor Neuburg，1883-1940 年）的诗歌以及弗里达·哈里斯夫人（娘家姓布洛克桑（Bloxam，1877-1962 年））的艺术才华获得了成功。 1938年，克劳利邀请哈里斯绘制插图透特之书，他最后的主要魔法作品，指定她为“艺术家执行者”。他们的伙伴关系远远超出了透特塔罗牌绘画的要求：哈里斯不仅成为了克劳利的魔法学生；而且还成为了克劳利的魔法弟子。他们建立了牢固而持久的友谊，这种友谊一直持续到克劳利生命的尽头。作为一名艺术家，哈里斯已经取得了一定的成功，但克劳利向她展示了如何在绘画中表达深奥的概念，从而创造出“艺术中全新的东西”（哈里斯致克劳利的信，1940 年 12 月 10 日）。哈里斯与克劳利的通信表明，她热切地接受了他的指导，决心按照他的愿景来显现塔罗牌图像。与此同时，她将同样的技巧应用到自己的作品中，并意识到艺术才是她精神道路的真正基础。本文使用克劳利和哈里斯的信件摘录、克劳利的日记以及哈里斯的艺术作品示例，认为克劳利确实在弗里达·哈里斯的例子中发挥了她新生的艺术技巧，并通过这样做，使她能够显现塔罗牌设计，他自己承认，“任何给定的卡片都超出了我曾经考虑过的任何东西”（克劳利给哈里斯的信，1939 年 1 月 25 日）。