A15042604310

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ETHIOPIAN MAGIC SCROLLS 埃塞俄比亚魔法卷轴

年

ETHIOPIAN
MAGIC SCROLLS

埃塞俄比亚魔法卷轴

JACQUES MERCIER 雅克-梅西埃

This book is dedicated to Girma Elias, to Jean Chavaillon and to Hubert Comte.

本书献给吉尔玛-埃利亚斯、让-沙瓦永和于贝尔-孔德。

Translated from the French by Richard Pevear

理查德-佩瓦尔译自法文

Published in 1979 1979 年出版

All rights reserved. 保留所有权利。
For information address the publisher:

如需了解更多信息，请联系出版商：

George Braziller, Inc., One Park Avenue, New York, New York 10016

乔治-布拉齐勒公司，纽约州纽约市公园大道一号，邮编 10016

Library of Congress Cataloging in Publication Data

美国国会图书馆出版数据编目

Mercier, Jacques, 1946-

Ethiopian Magic Scrolls 埃塞俄比亚魔法卷轴
Bibliography 参考书目

Ethiopian magic scrolls. 2. Illumination of books and manuscripts, Ethiopian. I. Title.

埃塞俄比亚魔法卷轴 2.埃塞俄比亚书籍和手稿的插图。I. 标题。

ND3285.7.AlM47 745.6’7’0963 78-9330

ND3285.7.AlM47 745.6'7'0963 78-9330

ISBN 0-8076-0896-3
ISBN 0-8076-0897-1 pbk.
First Printing 首次印刷
Printed by Imprimeries Réunies in Switzerland Designed by Allan Mogel

瑞士 Réunies 出版社印刷 Allan Mogel 设计

Contents 目录
Acknowledgments 6 致谢 6
Introduction 7 导言 7
Bibliography 34 参考书目 34
List of Color Plates 35

彩图一览表 35

List of Black-and-White Figures

黑白人物名单

Plates and Commentaries 40

图版和评注 40

Acknowledgments 致谢
The author and publishers would like to express their sincere thanks to the following institutions and individuals who
kindly provided materials and granted permission to reproduce in this volume.

作者和出版商衷心感谢以下机构和个人提供资料并允许在本卷中转载。

Color Plates 彩板
ADDIS ABABA, Institute of Ethiopian Studies, Plates 12, 17 (Photo, J. Mercier). BERLIN, Deutsche Staatsbibliothek, Plate
27.

亚的斯亚贝巴，埃塞俄比亚研究所，图版 12、17（照片，J. Mercier）。柏林，德意志国家图书馆，图版 27。

BERLIN, Preussischer Kulturbesitz, Plate 21.

柏林，Preussischer Kulturbesitz，图版 21。

PARIS, Bibliothèque Nationale, Plates .

巴黎，国家图书馆，图版 .

PARIS, Collection of G. Rosset, Plate 32 (Photo, J. Mercier).

巴黎，G. Rosset 珍藏，图版 32（照片，J. Mercier）。

PARIS, Collection of Hubert Comte, Plate 35 (Photo, J. Mercier).

巴黎，于贝尔-孔特收藏，图版 35（照片，J. Mercier）。

PARIS, Private Collections, Plates 14, 16, 19, 25, 29, 36, 37, 38, 39 (Photo, J. Mercier).

巴黎，私人收藏，图版 14、16、19、25、29、36、37、38、39（照片，J. Mercier）。

All other Color Plates are from private collections in Ethiopia (Photo, J. Mercier).

所有其他彩板均来自埃塞俄比亚的私人收藏（照片，J. Mercier）。
Black-and-White Figures 黑白人物
ETHIOPIA, ASHÄTÄN, Figure 6 (Photo, J. Mercier).

埃塞俄比亚，ASHÄTÄN，图 6（照片，J. Mercier）。

GUNDA GUNDIE, Figures 5 (Photo, J. Mercier).

GUNDA GUNDIE，图 5（照片，J. Mercier）。

Private Collections, Figures 11, 14, 17, 18 (Photo, J. Mercier). QOYÄTSÄ, Figure 7 (Photo, J. Mercier).

私人收藏，图 11、14、17、18（照片，J. Mercier）。QOYÄTSÄ，图 7（照片，J. Mercier）。

LONDON, Reproduced by permission of the British Library Board, Figure 10.

伦敦，经大英图书馆委员会许可转载，图 10。

PARIS, Bibliothèque Nationale, Figure 9.

巴黎，国家图书馆，图 9。

PARIS, Collection of Guy Annequin, Figure 16 (Photo, J. Mercier).

巴黎，Guy Annequin 珍藏，图 16（照片，J. Mercier）。

PARIS, Private Collections, Figures 12, 13, 15 (Photo, J. Mercier).

巴黎，私人收藏，图 12、13、15（照片，J. Mercier）。

All other Figures photographed by Jacques Mercier.

所有其他人物均由 Jacques Mercier 拍摄。

Ethiopian Magic Scrolls 埃塞俄比亚魔法卷轴

Ethiopia entered recorded history with the Sabean civilization, the most ancient monuments of which go back to the fifth
century B.C. Christianity arrived in the fourth century A.D. (the story of the conversion of the Axumite Emperor Ezana has
been preserved). The Ethiopian Church adhered to Monophysism following the Council of Chalcedonia. Not much is known
of Ethiopian history between the sixth and the thirteenth century, when the Agäw dynasty of the Zagwé was overthrown by
Yekuno Amlak, founder of the so-called Solomonian dynasty. There followed a period of religious and literary revival, and a
number of Saints’ Lives tell of conversions among the Jewish and pagan populations (the Bägemder, Damot, Shoa, and
Hadiya peoples). Muslim destructions in the sixteenth century, then incursions and migrations of the Oromo, reduced the
territory of the Christian empire by half. Important Oromo minorities settled among the Amhara, deeply influencing their
culture, and there were many conversions to Islam. At the end of the nineteenth century, the Christian rulers unified their
fragmented country and reconquered neighboring territories, except for those that had been colonized by European powers.

公元四世纪，基督教传入埃塞俄比亚（阿克苏姆皇帝埃扎纳皈依基督教的故事被保留了下来）。在卡尔西多尼亚会议之
后，埃塞俄比亚教会信奉一神论。公元六世纪到十三世纪之间的埃塞俄比亚历史知之甚少，当时扎格维的阿加乌王朝被
所谓所罗门王朝的创始人耶库诺-阿姆拉克推翻。随后出现了宗教和文学复兴时期，一些《圣徒传》讲述了犹太人和异教
徒（贝格姆德人、达莫特人、肖阿人和哈迪亚人）皈依的故事。16 世纪穆斯林的破坏以及奥罗莫人的入侵和迁徙使基督
教帝国的领土减少了一半。重要的奥罗莫少数民族定居在阿姆哈拉人中间，深深影响了他们的文化，许多人皈依了伊斯
兰教。19 世纪末，基督教统治者统一了四分五裂的国家，并重新征服了周边领土，但欧洲列强殖民过的领土除外。

Most of the scrolls reproduced in this book date from the nineteenth century. It can be estimated that at that time several
million individuals made use of scrolls written in the Geez language, the main groups being Christians of semitic speech
(Tigrinya or Amharic), fringe populations who spoke Coushitic, Agäwinya, or Orominya, and the Jewish minority known as
Falasha, who spoke Agäwinya and were then declining in number. Scrolls were also prescribed by Muslim healers, for the
use of Muslims known as jabarti.

本书转载的大部分卷轴都是 19 世纪的作品。据估计，当时有几百万人使用过用吉兹语书写的卷轴，主要群体是使用半身
语言（提格里尼亚语或阿姆哈拉语）的基督徒、使用库希特语、阿加维尼亚语或奥罗米亚语的边缘人群，以及使用阿加
维尼亚语的被称为法拉沙的犹太少数民族，他们的人数当时正在减少。卷轴也由穆斯林医士开具，供被称为 jabarti 的穆
斯林使用。

To learned Abyssinian Christians, talismanic art is much older than the art of figurative painting, which, according to their
belief, emerged during the Christian era. Talismans are not products of human skill; they are part of a “mystery” faithfully
reproduced since its revelation. There are two current traditions concerning their origin. According to one, they were stolen
and revealed before the time of the Flood at the devil Azaziel’s instigation; according to the other, God himself revealed
them to various Old Testament figures,

对于博学的阿比西尼亚基督徒来说，符箓艺术比具象绘画艺术要古老得多，他们认为具象绘画艺术出现于基督教时代。
护身符不是人类技艺的产物；它们是 "神秘 "的一部分，自 "神秘 "被揭示以来就忠实地再现了。关于护身符的起源，目前
有两种说法。一种说法是，它们是在大洪水之前，在魔鬼阿萨齐尔的唆使下被盗并被揭示出来的；另一种说法是，上帝
亲自向《旧约》中的各种人物揭示了它们、

in particular to Abraham (the näwa bäg’u) and Solomon (the Net of Solomon). The first myth is a gloss on the Book of
Enoch (Chapters 6 to 10 , and Chapter 69).

特别是亚伯拉罕（näwa bäg'u）和所罗门（所罗门网）。第一个神话是对《以诺书》（第 6 至 10 章和第 69 章）的润

色。

On his deathbed, Adam urged Seth and his descendants to live a righteous life apart from the family of Cain, the murderer
of Abel. Seth and his descendants then retired to the Holy Mountain to fast and pray. They praised the Creator unceasingly,
and their voices joined with those of the angels they saw above them. Down in the plain below, they saw Cain’s children
giving themselves up to pleasure and lust. In the time of Yared, however, two hundred of Seth’s descendants, tempted by
the devil Azaziel, went down from the Holy Mountain to intermarry with the daughters of Cain. These sons of Seth taught
men secrets which until then were known only to celestial beings: among these mysteries were writing with red and black
ink, the protective talismans associated with rituals for calling up devils, the secret Names of God, and the talismans for
exorcising devils from those possessed.

亚当临终前叮嘱塞特和他的后代要过正直的生活，与杀害亚伯的该隐家族划清界限。然后，塞特和他的后裔们来到圣山
禁食祈祷。他们不停地赞美造物主，他们的声音与在他们头顶上看到的天使的声音合而为一。在下面的平原上，他们看
到该隐的子孙沉溺于享乐和欲望之中。然而，在亚里德的时代，有两百个塞特的后裔在魔鬼阿撒兹勒的引诱下，从圣山
下来与该隐的女儿通婚。这些塞特之子向人类传授了在此之前只有天人才知道的秘密：其中包括用红色和黑色墨水书写
的神秘文字、与召唤魔鬼仪式相关的护身符、神的秘密名字以及为被附身者驱除魔鬼的护身符。

Solomon’s wisdom is no less famous in Ethiopia than in the Middle East. In Gabaon, he received that wisdom from the
Eternal (I Kings 3) together with the Net of Solomon, which he used for calling up devils, making them reveal their secrets,
and employing them for the construction of the Temple. The Angel Michael had given him a ring engraved with a seal and
the secret Name of God - the same name with which he had conquered Satnaél on the fourth day of the Creation.

所罗门的智慧在埃塞俄比亚的知名度并不亚于中东。在加邦，他从永恒之神那里得到了智慧（《列王记上》第 3 章）和
所罗门之网，他用所罗门之网召唤魔鬼，让他们说出自己的秘密，并利用他们建造圣殿。天使米迦勒给了他一枚戒指，
上面刻有印记和上帝的秘密名字--他在创世的第四天就是用这个名字征服了萨特奈尔。

These two glosses have a Judaic basis, but like so many other “Jewish” legends in Ethiopia, they are Christian elaborations.
However, what is the historical reality behind them? What role was played by each of the three great monotheistic religions
in the introduction of talismans into Ethiopia? And, first of all, what were medicine and painting like in Sabean and
Axumite civilization, and in the unlettered, indigenous cultures? The lack of archaeological evidence and the poverty of
written testimonies make it impossible to answer these questions with any certainty.

这两段文字有犹太教的基础，但与埃塞俄比亚的许多其他 "犹太 "传说一样，它们是基督教的阐释。然而，它们背后的历

史真相是什么？三大一神教在护身符传入埃塞俄比亚的过程中分别扮演了什么角色？首先，在萨宾文明和阿克苏姆文明
中，以及在没有文字的土著文化中，医药和绘画是什么样的？考古证据的缺乏和书面证词的贫乏使得我们无法确切地回
答这些问题。

However, considering the likely foreign antecedents of Ethiopian practices, one cannot avoid being struck by a region and
an epoch that played the role of a center of transmission: the eastern shores of the Mediterranean at the beginning of the
Christian era. There, Greek, Egyptian, Mesopotamian, Iranian, and Jewish influ-
 然而，考虑到埃塞俄比亚的习俗可能源自外国，我们不能不对一个地区和时代感到震惊，这个地区和时代扮演着传播中
心的角色：基督教时代之初的地中海东岸。在那里，希腊人、埃及人、美索不达米亚人、伊朗人和犹太人都对埃塞俄比
亚产生了影响。

ences intermingled. Christianity arose in opposition to this rich store which, however, continued to survive and put out new
growth until, finally triumphant, Christianity absorbed all of it.

它们相互交融。基督教的出现是与这一丰富的宝库相对立的，然而，宝库继续存活并孕育着新的生命，直到基督教最终
取得胜利，将其全部吸收。

According to a widespread belief of the time, the thirty-six sections (decans) of the heavens, the signs of the zodiac or the
planets, exert a beneficial or maleficent influence, directly or by means of spirits, upon the various parts of the body. To
cure illnesses, one must increase or weaken the power of the corresponding stars by wearing an amulet containing
substances from the three earthly kingdoms that are in sympathy or antipathy with them: a plant, an animal, or a stone
which might be engraved with the image and sign of the decan.

根据当时的一种普遍信仰，天上的三十六个部分（旬），即黄道十二宫的星座或行星，会直接或通过灵魂对身体的各个
部位产生有益或有害的影响。为了治病，人们必须佩戴护身符来增强或削弱相应星体的力量，护身符中含有与这些星体
相生或相克的三界物质：植物、动物或石头，上面可能刻有该旬星的图像和星座。

Paul and the early Church Fathers, such as Tatian, did not deny the influence exerted on men by the zodiac, but they
maintained that Christ had come to deliver man from that bondage to fate, and had “taught him to know, instead of planets
those wandering devils, the one true God.” However, in the popular mind, the dogma of the incarnation of the Word tended
to support belief in the transcendent power of certain words and graphic signs. Despite the resistance of the Fathers,
Christian circles soon connected their phylacteria with the totaphôt prescribed in the Old Testament. On gems and medals,
Christian or Christianized Jewish themes gradually supplanted pagan motifs: Solomon and Saint Sicinnius as warriors
overcoming a female devil, the Trinity, the Seven Sleepers of Ephesus, and so forth. The Gorgon’s head bristling with snakes
was reinterpreted as an image of Dan. Pagans and Christians wore phylacteries of precious metal or lead, with papyrus and
later parchment inscribed with prayers, invocations, powerful names, and crude sketches of figures or radiant faces
surrounded by “characters” (pseudo-letters ending in rings). These are the ancestors of the Ethiopian talismans, but are
they the only ones?

保罗和早期教父，如塔蒂安，并不否认黄道十二宫对人的影响，但他们坚持认为基督的到来是为了将人从命运的束缚中
解救出来，并 "教导他认识唯一的真神，而不是那些游荡的魔鬼"。然而，在大众心目中，道成肉身的教条倾向于支持对
某些词语和图形符号的超凡力量的信仰。尽管教父们进行了抵制，但基督教界很快就将他们的法器与《旧约》中规定的
图腾联系起来。在宝石和奖章上，基督教或基督教化的犹太教主题逐渐取代了异教主题：所罗门和圣西辛尼乌斯作为战
胜女魔鬼的勇士、三位一体、以弗所的七个沉睡者等等。高竿的蛇头被重新诠释为丹的形象。异教徒和基督徒都佩戴贵
金属或铅制的法器，上面刻有祈祷词、祈求语、强者的名字、人物的粗略素描或光芒四射的面孔，周围环绕着 "字
符"（以环结尾的假字母）。这些是埃塞俄比亚护身符的祖先，但它们是唯一的护身符吗？

Unfortunately we know nothing about the partial Judaizing of Ethiopia. Did it precede Christianization, as is generally
supposed? How widespread was it? Did it give rise to an original literature? No works have been preserved, and modern
Jewish (falasha) literature in Ethiopia appears to be a pale adaptation of Christian texts. It must be noted, however, that
certain explanations of the talismans, in Christian circles, were derived from the same source as the Book of Noah (Enoch,
Chapter 60).

遗憾的是，我们对埃塞俄比亚的部分犹太化一无所知。它是否像人们普遍认为的那样先于基督教化？它的传播范围有多
广？它是否产生了原创文学？没有任何作品被保存下来，埃塞俄比亚的现代犹太（falasha）文学似乎是对基督教文本的
苍白改编。但必须指出的是，基督教界对护身符的某些解释与《诺亚记》（《以诺》，第 60 章）出自同一来源。

For centuries, imperial Ethiopia identified itself with Christianity and was in permanent conflict with the Muslim peoples
around it. However, traditional medicine, magic, and talismanic art, as well as decorative religious art, far from ignoring it,
drew heavily upon the Islamic stock. Moreover, certain Ethiopian scholars consider the talismans actually of Persian or
Islamic origin. As early as the tenth century, Muslims of Egypt were great users of protective scrolls, judging by the number
of xylographic copies that have been found. The alternate layout of texts and images and the motifs (winged figures,
interlacing squares, seals) can justifiably be compared with more recent Ethiopian works. The work of Al Buni exerted a
deep influence on Ethiopian magic and talismanic art. The Shams al ma’ārif was translated into Geez (the Ethiopian
liturgical language) before the eighteenth century. A closer comparison of Ethiopian talismans with Islamic works shows
that the former, more often than not, are obviously not faithful copies of their models but graphically, even pictorially,
elaborated interpretations of them: the magic squares, the ciphers, the names of angels and of God, the seals, become a
knotwork of lines and letters in which eyes and faces appear. We shall see that this divergence in the matter of designand in
the matter of realistic portrayal - defines the setting and originality of Ethiopian talismanic art.

几个世纪以来，帝国埃塞俄比亚一直认同基督教，并与周围的穆斯林民族长期冲突。然而，传统医学、魔法和护身符艺
术以及宗教装饰艺术不仅没有忽视基督教，反而大量借鉴了伊斯兰教的元素。此外，某些埃塞俄比亚学者认为护身符实
际上源自波斯或伊斯兰。早在十世纪，埃及的穆斯林就开始大量使用保护卷轴，这一点可以从已发现的木刻副本的数量
上判断出来。文字和图像的交替布局以及图案（带翅膀的人物、交错的方格、印章）可以与埃塞俄比亚的最新作品进行
比较。阿尔布尼的作品对埃塞俄比亚的魔法和护符艺术产生了深远的影响。十八世纪之前，《Shams al ma'ārif》被翻译
成吉兹语（埃塞俄比亚礼仪用语）。将埃塞俄比亚的护身符与伊斯兰作品进行仔细比较后会发现，前者往往不是对其原
型的忠实复制，而是对其进行图形化甚至图像化的阐释：魔法方块、密码、天使和上帝的名字、印章，都变成了线条和
字母的组合，其中出现了眼睛和面孔。我们将看到，在设计和现实描绘方面的这种差异决定了埃塞俄比亚护身符艺术的
背景和独创性。

The first Ethiopian historical character to be mentioned in the legend having to do with talismans is the abuna Täklä
Haymanot who, in the thirteenth century, is alleged to have compiled an anthology of protective prayers and talismans for
the Emperor Yekuno Amlak. Chronology makes such an event highly improbable, but the drawings in modern copies of the
supposed book show profound similarities with the decorative art of the late Axumite, as well as the Zagwé periods,
although there can be no certainty about this derivation.

在与护身符有关的传说中，第一个被提及的埃塞俄比亚历史人物是阿布纳-塔克拉-海马诺特（abuna Täklä
Haymanot），据说他在 13 世纪为叶库诺-阿姆拉克（Yekuno Amlak）皇帝编纂了一本祈祷文和护身符选集。从时间上
看，这一事件极不可能发生，但该书的现代副本中的图画却与阿克苏姆晚期以及扎格维时期的装饰艺术极为相似，尽管
无法确定这种衍生关系。

The oldest books of protection available date from the fourteenth century. They are decorated with knotwork similar to that
found in contemporary religious books. The royal chronicles of the time mention the wearing of amulets, and the
Portuguese chaplain Alvarez, who stayed in Ethiopia from 1506 to 1512 , wrote of the Ethiopian women: " . . their bodies
adorned, from the waist upward, with paternosters strung on string," - which corresponds to

最古老的保护书籍可追溯到十四世纪。这些书籍上的绳结装饰与当代宗教书籍上的类似。当时的皇家编年史提到了护身
符的佩戴，1506 年至 1512 年在埃塞俄比亚逗留的葡萄牙牧师阿尔瓦雷斯写道埃塞俄比亚妇女："......她们的身体从腰部
往上装饰着用绳子串起来的护身符"--这相当于
the modern way of wearing scrolls. What was depicted on these amulets? No scrolls dating from before the eighteenth
century have yet been found. As profane and private objects, they could hardly have lasted more than a few generations of
almost daily use, when they were not actually lost or destroyed within the owner’s own lifetime. Thus, the oldest
documented scrolls are to be found in the earliest collections, i.e., in the nineteenth-century European Collections. Even
these are few, not only because the first Ethiopianists were philologists searching for religious texts such as the Book of
Enoch, which had been lost in the West, but also because the style of the paintings was often too shocking for the academic
taste of the period.

现代佩戴卷轴的方式。这些护身符上画的是什么？目前尚未发现十八世纪以前的卷轴。作为亵渎神明的私人物品，它们
几乎不可能在几代人的日常使用中经久不衰，如果它们没有在主人有生之年丢失或毁坏的话。因此，有文献记载的最古
老的卷轴是在最早的收藏中发现的，即在 19 世纪的欧洲收藏中。即使是这些卷轴也很少，这不仅是因为第一批埃塞俄比
亚学者是寻找诸如《以诺书》等在西方失传的宗教典籍的语言学家，还因为绘画风格往往过于震撼，不符合当时的学术
品味。

In the West many people speak rather too quickly of “magic” in connection with these scrolls. Since Ethiopian concepts are
rather different, it will be helpful if we begin by considering orthodox exorcism and the position of the Church.

在西方，许多人在谈到这些卷轴时都会过早地提到 "魔法"。由于埃塞俄比亚的观念与此大相径庭，我们不妨从正统的驱
魔术和教会的立场入手。

Strict orthodoxy prescribes only the reading of the Gospels and the Psalms of David before washing the sick person with
pure water. It tolerates reading the Lives of the Saints in their particular sanctuaries, or the Homelies of Michael. However,
the more that texts contain the Names (asmat) of God, the more their reading is disapproved - without, however, being
forbidden, as we see in the ritual of exorcism shown in Figure I. Here, three priests are reading together from a collection of
protective prayers - Prayers for the Undoing of Spells (mäftehé saray), the Rampart of the Cross, and so onfor the woman
sitting on the bed. Each of them reads one of the three columns of text written on the page. A jug of water, not visible in the
photograph, in which some plants with exorcising properties are steeping, is placed beside them on three stones. The book
is divided into seven sections, and each morning for a week they come to read a section. When the reading is finished, they
blow on the water; one of them dips his cross in it and blesses those assembled; then, in a neighboring room, they pour the
water over the crouching woman, who rubs herself so that no part of her body remains dry. Some of the many talismans
(tälsäm) in the book can be seen. Among them, the priests show the sick woman an image of the Devil bound by the Cross,
in order to frighten the demon (ganén) that is possessing her. It may, be that the demon will tremble and speak through the
sick woman: the orthodox attitude is to drive him out while

严格的正统教义规定，在用纯净水为病人清洗之前，只能诵读福音书和大卫的诗篇。正统派允许在圣堂中阅读《圣徒
传》或《米迦勒家书》。然而，越是包含神的名字（asmat）的经文，就越是不允许阅读，但也不禁止，正如我们在图 I
所示的驱魔仪式中看到的那样。他们每个人都读着写在纸上的三列文字中的一列。他们身边的三块石头上放着一壶水，
照片中看不到，里面浸泡着一些具有驱魔功效的植物。这本书分为七节，在一周的时间里，他们每天早上都会来读一
节。诵读结束后，他们对着水吹气；其中一人将十字架浸入水中，并为聚集在一起的人祈福；然后，在隔壁的房间里，
他们将水倒在蹲着的女人身上，女人擦拭自己，使身体的任何部位都保持干燥。从书中可以看到许多护身符
（tälsäm）。其中，祭司向患病妇女展示了一个被十字架捆绑的恶魔形象，以吓唬附在她身上的恶魔（ganén）。恶魔可
能会颤抖，并通过患病的妇女说话：正统的态度是将其赶走，而不是将其杀死。

refusing all his demands for offerings. The texts of the protective scrolls are extracts from such books and are therefore
authorized, or at least tolerated, by Christian dogma. The scrolls are called “written-on-skin” (in Amharic: yä branna ketab)
or “names” (in Geez: asmat). In the Tigrinya-speaking areas they are called talismans (tälsäm) or, where the custom is to
use scrolls equal in length to the height of the sick person, “full-size” (in Tigrinya: ma’ero qumät).

他拒绝了所有的供奉要求。保护卷轴的文字摘自此类书籍，因此得到了基督教教义的认可，或至少是容忍。这些卷轴被
称为 "写在皮肤上"（阿姆哈拉语：yä branna ketab）或 "名字"（吉兹语：asmat）。在讲提格雷亚语的地区，这些卷轴
被称为护身符（tälsäm），或者在使用与病人身高等长的卷轴的习俗中被称为 "全尺寸"（提格雷亚语：ma'ero
qumät）。

The reciting of the Names of God, although disapproved of by strict orthodoxy, is generally considered as much a religious
exercise as the reading of the Gospels. But if one chooses texts or any other elements of a scroll to accord with the
astrological sign of the sick person, then one leaves the way of religion (mänfäsawi) for that of divination (tenqwäla) and
idolatry (amleko). Certainly not all the scrolls are determined by divination, but the a priori suspicion is always there.

尽管严格的正统派不赞成诵读神的名字，但一般认为诵读神的名字与诵读福音书一样，都是一种宗教活动。但是，如果
一个人根据病人的星相来选择书卷中的文字或任何其他内容，那么他就离开了宗教（mänfäsawi）的道路，而走上了占
卜（tenqwäla）和偶像崇拜（amleko）的道路。当然，并非所有的卷轴都是由占卜决定的，但先验的怀疑始终存在。
Only scrolls on which the prayer known as lefafä tsëdeq (Bandelet of Righteousness) is written escape the suspicion of
tenqwäla. This is a prayer composed of extracts of sacred texts and the Names of God, and is meant to assure “the salvation
of the one who writes it, reads it, explains it, buys it, and wears it, up to the seventh generation.” It is used by very pious
laymen and by illiterate monks and nuns who have it read to them regularly. In the Tigrean region, the text is written in a
little book, but in the Amhara region it is copied out on a parchment scroll decorated with Crosses or religious designs.
When the owner dies, his body is buried with the scroll placed around the neck and crossed over the chest.

只有写有被称为 lefafä tsëdeq（《正义手镯》）的祈祷文的卷轴才能逃脱 tenqwäla 的怀疑。这是一份由圣典摘录和神名

组成的祷文，旨在确保 "书写它、阅读它、解释它、购买它和佩戴它的人直到第七代都能得到救赎"。虔诚的信徒以及不
识字的僧侣和尼姑都使用它，并定期为他们朗读。在提格雷地区，经文写在一个小本子上，但在阿姆哈拉地区，经文抄
写在羊皮纸卷轴上，上面装饰有十字架或宗教图案。当主人去世时，他的尸体会被埋葬，并将卷轴挂在脖子上，交叉放
在胸前。

If a scroll is made to accord with an astrological sign, the latter is determined with the help of a process known as gedfät,
which is explained in the Cycle of the Kings (awdä nägäst) and is derived from the ancient Greek Sphere of Democritus:
each letter of the consultant’s name and of his mother’s name is given a number. These are added up by means of an
arithmetic system based on the number twelve. The number of the zodiacal sign corresponds to the result. The book
indicates the correspondences for each sign: aggressive spirits, protective angels, prayers, rites to be carried out, animals to
be sacrificed, colors, sometimes images. This is quite clearly the ancient doctrine of astral correspondences. Today,
however, the constellations are hardly more than chapter titles and the astrological content seems depleted. What is it then,
that animates the art of the talismans

如果卷轴与星座相符，则后者是通过一种被称为 gedfät 的过程来确定的，该过程在《国王的周期》（awdä nägäst）中有

所解释，源于古希腊德谟克利特的《球体》：顾问姓名及其母姓的每个字母都有一个数字。这些数字通过基于数字 12 的
算术系统相加。结果与黄道十二宫的数字相对应。书中指出了每个星座的对应关系：攻击性的灵魂、保护天使、祈祷、
要举行的仪式、要献祭的动物、颜色，有时还有图像。这显然是古代的星象对应学说。然而今天，星座不过是章节的标
题，占星学的内容似乎已经枯竭。那么，是什么让符箓艺术充满活力呢？

if neither orthodox Christian thinking nor astrological imperatives? Given the absence of any Ethiopian theoretical
treatises, this question will have to be approached empirically.

如果既不是正统的基督教思想，也不是占星术的要求？鉴于埃塞俄比亚没有任何理论专著，这个问题只能从经验出发。

We must point out first that the use of prayers and talismans is only one pole, and one that is disappearing today, of
Ethiopian medicine, the other being the use of plant and animal medicines. In traditional thinking, these two techniques go
together “like honey and butter,” the first acting upon the spiritual cause of the disease, and the second upon its symptoms.

我们必须首先指出，祈祷和护身符的使用只是埃塞俄比亚医学的一个方面，而且是如今正在消失的一个方面，另一个方
面是植物药和动物药的使用。在传统观念中，这两种技术 "就像蜂蜜和黄油"，前者作用于疾病的精神原因，后者作用于
疾病症状。

There are only a few diseases, such as gonorrhea or certain skin ailments, which are easily identifiable by their symptoms
and can be treated successfully with plants. In most cases there is a gap between the symptoms and the spiritual cause
which shows itself in multiple and changing ways. To identify this spiritual cause, and thus be able to prescribe an effective
treatment, requires techniques of divination that are beyond the ordinary practitioner, and almost every etiology has its
specialist. Then, too, those watching over the sick person, disturbed by the persistence of the disease, will consider his or
her past life in an effort to identify the cause. When did the sickness begin? Didn’t this sick person - who happens to be an
attractive young woman-go to market on that particular day? And didn’t she arouse the lust of a demon-blacksmith with
evil powers (buda)? Or of some spirit (zar) who had gone there to amuse himself? Did she go to the river at noontime to
fetch water and disturb a devil (ganén)? Or did she go to cut wood in the forest and annoy a zar there? Had her mother been
possessed by a zar for whom she maintained a cult? Had she neglected her sacrifice to the “God of the house” (yäbét amlak),
the protective spirit attached to a house for seven generations? Did someone cast a spell over her? Whom had she eaten
with? Didn’t she have an argument with a shopwoman at the market? Or with a close relative over a piece of land? Are they
not about to go before the judge? And so on . . “What are you talking about? This sinful little fool has quite simply been
punished by God, to make her repent!” So a priest might say.

只有少数疾病，如淋病或某些皮肤病，很容易通过症状辨别出来，并能用植物成功治疗。在大多数情况下，症状和精神
原因之间存在着差距，而精神原因则以多种和不断变化的方式表现出来。要确定这种精神原因，从而能够开出有效的治
疗处方，需要普通医生无法掌握的占卜技术，而且几乎每种病因都有其专家。然后，那些看护病人的人也会因为疾病的
持续存在而感到不安，他们会考虑病人过去的生活，试图找出病因。病是从什么时候开始的？这个病人--碰巧是一位迷人
的年轻女性--是不是在那一天去了市场？她是不是引起了一个拥有邪恶力量（布达）的恶魔铁匠的欲望？或者是某个去那
里消遣的鬼魂（zar）？她是不是在正午时分去河边打水，惊扰了魔鬼（ganén）？还是她去森林里砍柴，惹恼了那里的
一个扎尔？她的母亲是否被一个扎尔人附身，并对其进行崇拜？她是否疏忽了对 "宅神"（yäbét amlak）的祭祀？是否有
人对她下了咒语？她和谁一起吃过饭？她不是在市场上和女店员发生过争执吗？或者与近亲争夺一块土地？他们不是要
去见法官吗？等等...... "你在说什么？这个有罪的小傻瓜只是受到了上帝的惩罚，为了让她忏悔！"牧师可能会这么说

Thus, each person according to his own turn of mind and experience lavishes advice on the sick girl. She will go from one
healer to another, for, as a proverb says, “There is no plant a goat won’t eat and no place a woman won’t visit” - herbalists,
priests, sacred springs, dabtaras (the dabtara is an unordained cleric who has

因此，每个人都会根据自己的想法和经验向生病的女孩提供建议。她会辗转于一个又一个医治者之间，因为正如谚语所
说："没有山羊不吃的植物，没有女人不去的地方"--草药医生、牧师、圣泉、达布塔拉（达布塔拉是一种未受命的神职人
员，他具有以下特征

studied singing, poetry, and literature; a cantor, a scribe, a teacher, he practices traditional medicine in its most varied
aspects), and zar-tänqway (professionally possessed men or “priests” of cults, analogous to Haitian voodoo, devoted to a
zar).

他学习唱歌、诗歌和文学；他是一名唱诗班成员、抄写员、教师，还从事传统医学的各种工作），以及 zar-tänqway（专
业附身者或邪教 "祭司"，类似于海地的伏都教，献身于一个 zar）。

Each healer can order a scroll to be made, and with a wide variance in details. The following are a few examples.

每位治疗师都可以要求制作卷轴，卷轴的细节差别很大。以下是几个例子。

-After a religious exorcism, one of the priests may copy onto a scroll some of the best passages from the particular book
used, and give it to the convalescent person to read or have read in daily prayer.

-在宗教驱魔仪式之后，一名牧师可能会把所用书籍中的一些精华段落抄写在卷轴上，然后把它交给康复者，让他在日常
祈祷时阅读。

-The zar-tänqway, or qalicha, will go into a trance and his zar will speak through his mouth, identifying the spirit
responsible for the trouble and indicating the treatment to be followed, which may include the preparation of a scroll by a
dabtara.

-zar-tänqway（或 qalicha）会进入恍惚状态，他的 "zar "会通过他的嘴说话，指出造成麻烦的鬼魂，并指明要采取的治

疗方法，其中可能包括由达布塔拉（dabtara）准备卷轴。

-If the sick person already has a zar for whom she maintains a cult, she may go into a trance herself during the ceremony
with the zar-tänqway. The latter will converse with her zar, asking him to cure his “horse” (the woman) and not leave her
prey to impure spirits, or to let her have a child, etc. The sick woman’s zar will then declare that his “horse” will have a child
if she offers him a white sheep in sacrifice and has a scroll prepared by a dabtara. Thus follows another ceremony, a
sacrifice, and the zar’s glee which shows through the woman, his “horse.” Then the woman takes the animal’s skin to a
scribe.

-如果病人已经有了自己崇拜的 "扎尔"，在与 "扎尔-塔恩克瓦伊 "举行仪式时，她就会进入恍惚状态。后者会与她的 "扎

尔 "交谈，请求他治好自己的 "马"（女人），不要让她成为不洁灵魂的猎物，或者让她生个孩子等等。然后，患病妇女的
"扎尔 "会宣布，如果她向 "扎尔 "献上一只白羊作为祭品，并让达布塔拉（dabtara）准备一个卷轴，他的 "马 "就会有一
个孩子。接下来是另一个仪式、献祭和 "扎尔 "的喜悦，这一切都通过他的 "马"--女人表现出来。然后，女人将兽皮交给
抄写员。

-The dabtara will interview the sick woman, and in several stages, make a diagnosis and prescribe a cure with the help of his
tables of computation and the evocation of familiar spirits. The traditional cure practiced by the dabtara (and also by the
zar-tänqway) is made up of two groups of rituals, the first aimed at driving out the impure spirits, and the second at praying
to the zar spirits that they may be reconciled with their “horse,” or else leave her. Among the rituals of expulsion, some are
completed by the copying of a scroll meant to prohibit the return of evil spirits. The sick person will still see them howling
and threatening in his or her dreams, but they will not be able to approach.

-达布塔拉（dabtara）会询问生病的妇女，分几个阶段进行诊断，并借助他的计算表和唤 醒熟悉的灵魂开出治疗处方。
达布塔拉（以及 "扎尔-塔恩克瓦伊"）的传统治疗方法由两组仪式组成，第一组仪式的目的是驱赶不洁的灵魂，第二组仪
式的目的是祈求 "扎尔 "的灵魂与其 "马 "和解，否则就离开她。在驱邪仪式中，有些仪式是通过抄写卷轴来完成的，卷轴
的目的是禁止邪灵回来。病人仍会在梦中看到它们嚎叫和威胁，但它们无法靠近。

The following is a simple ritual for preparing a scroll. At the end of the consultation, the dabtara may say to the sick woman,
“Your sterility comes from aynä tela (eye of shadow), and from mägaña (spirits) who have closed up your womb. You must
sacrifice a black sheep, wash yourself in its blood and chyme, and bring me its

以下是准备卷轴的简单仪式。问诊结束时，达布塔拉可以对患病妇女说："你的不育症来自于阴影之眼（ayna tela）和封
闭你子宫的鬼魂（mägaña）。你必须献祭一只黑绵羊，用它的血和食糜洗净自己，然后把它带给我。

skin.” Or he may say, “Shotälay is in your womb and has cut up your fetus with his sword, causing these excessive flows of
blood. You will need a red sheep.” The animal is generally sacrificed on the sick person’s land, in a place behind the house
where a pit has been dug. The dabtara then has the sheep carried three times in a circle, moving to the right, around the sick
person, and then he slits its throat. The blood is collected in a hollow gourd (the sick person must not taste it or the spirit
will not leave), along with the chyme. (Some dabtaras add a few plants.) Then he washes the person with the contents of the
gourd while saying prayers. The evil spirits, attracted by the drink, are drawn off by the liquid as it drains into the pit. If the
spirit is not considered to be a demon (ganén), but a zar or welladj, then the sick person must eat twelve pieces of the
roasted meat. Close relatives, and they alone, may eat the rest. The scraps and bones will be buried in the pit so that animals
will not be able to touch them. The skin will be used for one or more scrolls.

皮肤"。或者他可能会说："肖太莱在你的子宫里，用他的剑割破了你的胎儿，导致你流出过多的血。你需要一只红
羊。"献祭的动物一般在病人的土地上，在屋后挖坑的地方。然后，达布塔拉让人抬着绵羊绕着病人转三圈，向右移动，
然后割断绵羊的喉咙。然后他一边祈祷一边用葫芦里的东西给病人洗胃。被酒吸引来的邪灵就会被流进坑里的液体吸
走。如果邪灵不是恶魔（ganén），而是 "扎尔"（zar）或 "井"（welladj），病人就必须吃十二块烤肉。只有近亲属可以
吃剩下的部分。肉渣和骨头将被埋在坑里，这样动物就不能碰它们。肉皮将用来制作一个或多个卷轴。

The dabtara lets the skin soak in water for several days, then ties it to a hoop made of saplings which he binds onto a sturdy
wooden frame. As it dries in the sun, the skin becomes taut. Using a curved knife, he scrapes off the remnants of flesh,
having remoistened the inner side of the skin and roughened it with a vesicular lava stone. The skin is once again washed
and dried, and the dabtara then scrapes the hairy side with a sort of adze. He repeats the process many times, washing,
pumicing, and finishing with a knife. For scrolls, however, the parchment must not be made too thin or it will become too
fragile. In any case, the dabtara does not always have the marble dust needed for making highly polished, white parchment.

达布塔拉人把皮在水里浸泡几天，然后把皮绑在一个用树苗做成的箍上，再把箍绑在一个结实的木架上。在阳光下晒干
后，皮肤就会变得紧绷。他用一把弯刀刮掉残余的皮肉，将皮的内侧重新润湿，并用水泡熔岩石将其打磨粗糙。皮肤再
次洗净晾干，然后达布塔拉用一种锛刮毛的一面。他要多次重复这个过程，清洗、捶打，最后用刀完成。不过，对于卷
轴来说，羊皮纸不能做得太薄，否则会变得太脆弱。无论如何，达布塔拉并不总是拥有制作高度抛光的白色羊皮纸所需
的大理石粉。

The dabtara cuts the prepared parchment into three strips of equal width, so that when sewn end to end with a leather
thong their total length will equal the height of the person the scroll is intended for. This will mean that the client is
protected against demons from head to foot. The width depends on the price agreed upon, which may vary from the value of
a sheep to the value of a cow.

达布塔拉会将准备好的羊皮纸切成三条等宽的长条，这样用皮绳将三条长条首尾缝合后，其总长度就等于卷轴所要保护
的人的身高。这意味着客户从头到脚都能得到保护，免受恶魔侵扰。宽度取决于商定的价格，可能从一只羊的价值到一
头牛的价值不等。

The scroll is now ready to receive its prayers and talismans, which the dabtara executes using a pen made from a common
reed (shämbäqo) or from asparagus (yäsét qüst). He marks off the spaces for paintings and then copies the prayers in black
ink, using red ink for the introductory formulae (“In the name of the Father, the Son, and the Holy Ghost, one God”) and for
certain important words, as in

现在，卷轴已准备好接受祈祷文和符咒，达布塔拉用芦苇（shämbäqo）或芦笋（yäsét qüst）制成的笔来书写。他在绘
画的空白处做记号，然后用黑色墨水抄写祷文，用红色墨水书写开头语（"以圣父、圣子和圣灵的名义，三神合一"）和
一些重要的词语，如
religious books. Some scribes add the sap of ritual plants or a bit of the sacrificed animal’s blood to the inks to make the
scroll more effective.

宗教书籍。有些抄写员会在墨水中加入祭祀植物的汁液或献祭动物的血，以使卷轴更有效。

These are a few recipes for preparing the colors.

以下是几种准备颜色的配方。

-Black ink: Soot scraped from the bottom of a cooking pot is mixed with leaves of the Dodonea viscosa (ketketta), of the
Pterolobium abyssinicum (qäntäffa), and of the olive tree, which have been dried beforehand, roasted, and made into a
powder. Acacia resin is added, and the mixture is cooked with a special butter (yälasta qebé) in a hermetically sealed pot,
after which it is left to settle in a warm place for a week. The liquid is then drained off and allowed to dry. To make the ink,
this dried cake is dissolved in a solution made from roasted and powdered wheat.

-黑墨水：将从锅底刮下的烟灰与 Dodonea viscosa（ketketta）、Pterolobium abyssinicum（qäntäffa）和橄榄树的叶子

混合在一起，事先将这些叶子晒干、烘烤并制成粉末。再加入金合欢树脂，然后在一个密封的锅里用一种特殊的黄油
（yälasta qebé）将混合物煮熟，之后放在温暖的地方沉淀一周。然后沥干液体，晾干。在制作墨水时，将这种干饼溶解
在用烘烤过的小麦粉制成的溶液中。

-Red vegetable ink: Juice is extracted from sunflower petals, red aloe, the fruit of the Pterolobium abyssinicum, and the
root of the Craterostigma plantagineum (yäsét leb, or “woman’s heart”), and mixed with acacia resin, etc.

-红色植物墨水：从向日葵花瓣、红芦荟、Pterolobium abyssinicum 果实和 Craterostigma plantagineum（yäsét leb，或

"女人心"）根中提取汁液，并与金合欢树脂等混合。

-Yellow vegetable ink: The color is taken from petals of the yellow aloe, sunflower, Calournia aurea (degetta), and egg yolk.

-黄色植物墨水：颜色取自黄芦荟花瓣、向日葵、Calournia aurea（degetta）和蛋黄。

-Green ink: Made from leaves of the Datura stramonium (astänagger), Zehneria scabra (etsä sabéq), and Dodonea viscosa.

-绿色墨水：用曼陀罗（astänagger）、疥疮泽赫纳利亚（etsä sabéq）和粘性朵朵娜（Dodonea viscosa）的叶子制成。

We will mention only briefly the prayers used in the scrolls, since a number of them will be cited in the Commentaries on
the Color Plates, notably that of Saint Susenyos and the various invocations against Shotalay which protect the newborn
and prevent miscarriage.

我们将只简要提及卷轴中使用的祷文，因为其中许多祷文将在《彩版注释》中引用，特别是圣苏森约斯的祷文和各种针
对舒塔莱的祷文，这些祷文可以保护新生儿并防止流产。

There are many prayers that protect against the evil eye

有许多祈祷能抵御邪眼
III
(aynät), or the eye of a witch, the eye of a devil, “the eye of shadow” (aynä tela), and so on. The most classic of these comes
from the story of Christ’s vision of the “old woman” at the Sea of Galilee. She was horrible, her eyes spewed fire, and she
sowed destruction. Jesus spoke the Names of God, which reduced her to ashes. This prayer, which belongs to the same cycle
as that of Susenyos, is related to the Muslim prayer of the Seven Seals of Solomon or the Seven Covenants.

(aynät)，或女巫之眼、魔鬼之眼、"阴影之眼"（aynä tela）等等。其中最经典的说法来自基督在加利利海看见 "老妇人

"的故事。她非常可怕，双眼喷火，播下毁灭的种子。耶稣说出了上帝的名字，使她化为灰烬。该祷文与苏塞尼奥斯的祷
文属于同一周期，与穆斯林的所罗门七印或七约祷文有关。

The prayer known as the Net of Solomon, which was mentioned at the beginning of this Introduction, is of great importance
and frequently used. The demon-blacksmiths appeared to Solomon in a dream and brought him to their Demon-King, who
was struck with fear upon seeing Solomon, and asked him what he had in his belly. Solomon answered that he was full of
the grace of God, and that this grace protected him against evil spells. Then he spoke some Words of Power. The King of the
demon-blacksmiths was angered and ordered his servants to kill the offender. Solomon said the following words: "Lofham,
lofham. . . " The executioner’s mouth was stopped up, some of his followers were drowned, others were reduced to ashes.
The King alone survived. Solomon seized him by the throat, struck him, and commanded him to give up his secrets. The
King revealed the evil spells for provoking miscarriages, for stealing a victim’s heart, for making monks and nuns sin, for
making princesses have bastards, for appearing in many forms (with the face of an ass, a horse, a dog, a lion, a leopard, and
so on). Solomon struck him again and said a prayer. The demon, terrified, spit up his tongue. . . . And so it continues. The
dabtaras consider this a key text and always refer to it in describing demons and their works.

导言开头提到的被称为 "所罗门之网 "的祈祷非常重要，也经常被使用。恶魔铁匠在梦中向所罗门显现，并把他带到他们

的恶魔王面前，恶魔王一见到所罗门就感到恐惧，问他肚子里装的是什么。所罗门回答说，他充满了上帝的恩典，这种
恩典保护他不受邪恶咒语的伤害。然后他说了几句能力之言。魔鬼铁匠王恼羞成怒，命令他的仆人杀死罪犯。所罗门说
了下面的话"洛夫汉姆，洛夫汉姆.. ."刽子手的嘴被堵住了，他的一些追随者被淹死，其他人化为灰烬。只有国王一人活
了下来。所罗门抓住他的喉咙，打了他一拳，命令他交出秘密。国王说出了引发流产、偷走受害者的心、让僧侣和修女
犯罪、让公主生下私生子、以多种形态出现（驴脸、马脸、狗脸、狮子脸、豹子脸等等）的邪恶咒语。所罗门又打了他
一下，然后祷告。恶魔吓坏了，吐出了舌头.. .......事情就这样继续下去。达布塔拉人认为这是一篇重要的经文，在描述恶
魔及其行为时总是引用它。

There are innumerable prayers for undoing spells (mäftehé seray) composed of the Names of God, and which precisely
enumerate all forms of casting spells, as well as all the places and evil-doers from which magical aggression may emanate.

由神的名字组成的解咒祷文（mäftehé seray）数不胜数，其中精确地列举了各种形式的施法，以及可能产生魔法攻击的
所有地方和恶人。

There are many other texts, some stable in form-such as the Rampart of the Cross, the passages from the Gospels relating to
the healing of demoniacs, or the beginning of the Gospel of John-and others such as the lists of Names revealed to Moses,
Alexander, Thomas, Mary, and so on, that can be lengthened or shortened as the scribe wishes.

还有许多其他文本，有些形式稳定--如《十字架的斜坡》、《福音书》中有关医治恶魔的段落或《约翰福音》的开头，而
其他文本，如摩西、亚历山大、多马、马利亚等人的名字清单，则可以根据抄写员的意愿加长或缩短。

The most remarkable aspect of this magical Ethiopian literature is the importance it gives to the Names (asmat) of God, the

这部神奇的埃塞俄比亚文学作品最引人注目的地方在于它对神的名字（asmat）的重视，即 "神的名字"、"神的名字 "和

"神的名字"。
angels, the devils, the . Knowing them gives the dabtara mastery over all spirits, and thus the power to heal, subjugate,
and destroy.

天使、魔鬼、 。了解了它们，达布特拉就能驾驭所有精灵，从而拥有治愈、征服和毁灭的力量。

Few dabtaras, however, have at their disposal a rich repertoire of talismans classified according to the stars and their
functions, and even fewer have any knowledge of their meaning. Most often they have made up a repertoire with the aid of
scrolls their clients have brought them to be copied. Sometimes a scribe who has no knowledge of painting will ask a painter
to prepare the pictures for him. On the other hand, certain dabtaras are interested only in making talismans and leave the
vexing job of writing to an assistant. For example, one dabtara will portray the figure of the Angel Michael first, then a
cherub and the four animals, then Rafael, and finally a saint honored in the client’s house. Another, who generally draws an
 然而，很少有达布塔拉能掌握丰富的按星象和功能分类的护身符，甚至更少的达布塔拉知道这些护身符的含义。大多数
情况下，他们都是借助客户带来的卷轴来抄写符箓。有时，不懂绘画的文士会请画师为他作画。另一方面，有些达布塔
拉只对制作护身符感兴趣，而把令人烦恼的书写工作留给助手。例如，一位达布塔拉会先描绘天使米迦勒的形象，然后
是小天使和四种动物，接着是拉斐尔，最后是客户家中尊崇的圣人。另一位通常画的是

angel, then a face surrounded by God’s throne bearers, then a Cross, and finally, at the bottom, a church, will change his
motifs if the scroll is meant as protection against Shotälay, having the angel followed by Saint Susenyos and showing
Werzelya surrounded by her followers at the end.

如果这幅卷轴是为了保护人们免受肖泰雷的伤害，那么他就会改变主题，让天使后面跟着圣苏塞尼奥斯，最后显示韦尔
泽利亚被她的追随者们包围着。

Having completed the text and the pictures, the dabtara will insert into the prayers the baptismal name of the client (which,
in the Amhara region, at least, is ordinarily kept secret for fear of evil spells). Finally, he will get a piece of red leather from a
tanner and fashion the case, which is made of two overlapping tubular sections. If the scroll is a small one, measured by the
circumference of the waist or head, he will sew the case shut, and the sick person will simply wear it without opening it.

在完成文字和图片之后，达布塔拉会在祈祷词中插入客户的洗礼名字（至少在阿姆哈拉地区，由于害怕邪术，这个名字
通常是保密的）。最后，他会从皮匠那里找来一块红皮，制作一个由两个重叠的管状部分组成的盒子。如果卷轴很小，
只有腰围或头围那么大，他就会把盒子缝起来，病人只需戴着它，不用打开。

When a woman feels in danger during pregnancy or in the month before her confinement, she will carry her scroll with her
constantly, hung by a string from her shoulder or around her neck, or by a leather strap if she has a number of talismans-
scrolls, rings of horn or silver (protection against witches), jewels in the shape of amulet cases, shells, discs of blue glass,
and so on. She must not wear her scroll during her monthly periods or after having sexual relations. At night, she will hang
it from a nail, but if she is afraid of nightmares, she will roll it up in a sash and put it under her pillow. If she is sick and
confined to her bed, she will unroll it and lay it out nearby (if she has several scrolls, she will arrange them to form a Cross),
so that she can clearly see the pictures. She will gaze at them, breathing deeply or praying, until she feels better. When a
priest or a dabtara comes to visit her, she will ask him to read the scroll to her and to bless her with holy water, and she will
drink a little of the water herself. Sometimes the scroll is hung from the central post of the house, facing the door, so that if
a devil tries to enter he will have to flee at the sight of Saint Michael brandishing his sword.

当妇女在怀孕期间或坐月子前的一个月感到危险时，她会将卷轴随身携带，用绳子挂在肩上或脖子上，如果她有一些护
身符--卷轴、牛角或银戒指（防止女巫）、护身符形状的珠宝、贝壳、蓝色玻璃圆盘等，则用皮绳系在脖子上。在月经期
间或发生性关系后，她不能佩戴卷轴。晚上，她会把卷轴挂在钉子上，但如果害怕做噩梦，她会用腰带把卷轴卷起来放
在枕头下。如果她生病了，只能躺在床上，她就会把画卷展开，放在床边（如果她有几个画卷，就会把它们摆成一个十
字架），这样她就能清楚地看到画上的内容。她会凝视着这些画卷，深呼吸或祈祷，直到感觉好些为止。当牧师或达布
塔拉（dabtara）来探望她时，她会请他们为她朗读画卷，并用圣水为她祈福，她自己也会喝一点圣水。有时，卷轴会被
挂在房子的中央柱子上，正对着门，这样如果魔鬼想进来，一看到圣米迦勒挥舞着宝剑，他就不得不逃走。

If a person suddenly feels ill, a scroll is immediately brought and unrolled before him as he lies in bed. Sometimes this
produces a violent fit: the sick person is seized with trembling, he howls and tries to hit the scroll with a stick. He struggles
and shouts while he is firmly held down. Then suddenly the devil that is within him, realizing the uselessness of his cries,
will begin to plead quietly. He will tell his story, say that he was disturbed during coffee-time, reveal some prior misdeed,
and eventually take an oath to leave and never come

如果一个人突然感到不舒服，躺在床上的人就会立即拿来一卷书，在他面前展开。有时这会引起剧烈的痉挛：病人浑身
发抖，嚎叫着试图用棍子打卷轴。他挣扎着、喊叫着，而他却被牢牢地按住。突然，他体内的魔鬼意识到自己的呼喊毫
无用处，便开始低声恳求。他会讲述自己的故事，说自己在喝咖啡的时候受到了打扰，揭露之前的一些不轨行为，最后
发誓离开这里，再也不来了
VI
back, if only they will stop tormenting him with the scroll.

只要他们不再用卷轴折磨他，他就能回来。

Before undertaking to explain the pictures, we must say a few words about regional differences. People of the Tigray region
tend to use their scrolls as simple substitutes for religious books and willingly lend them to their neighbors, whereas the
Amhara fear the worst if they are even momentarily separated from their scrolls. It has, therefore, been much easier for us
to study Tigrean scrolls, wherein we have been able to identify a number of styles. However,

在解释这些图片之前，我们必须先谈谈地区差异。提格雷地区的人们往往把卷轴当作宗教书籍的简单替代品，并愿意把
它们借给邻居，而阿姆哈拉人则害怕与卷轴分离，哪怕是片刻的分离。因此，我们对提格雷卷轴的研究要容易得多，我
们可以从中找出许多风格。然而

any attempt to characterize them must be tempered by the fact that the dabtaras travel around a great deal, and earn money
while they do so by practicing their medical and talismanic arts.

在试图描述他们的特征时，必须考虑到这样一个事实，即达布塔拉人经常四处旅行，并在旅行途中通过行医和符咒术赚
钱。

The dabtaras generally classify the paintings on scrolls in two groups: figurative paintings (se’el) and talismans (tälsäm).
The Church, while it sometimes considers the latter as pictorial analogues of the secret Names of God, tends more often to
reject them as demonic revelations, or at least as work tainted by illicit practices. The first myth concerning their origin
bears witness to this ambivalence with regard to talismans.

达布塔拉人通常将卷轴上的绘画分为两类：具象绘画（se'el）和护身符（tälsäm）。教会虽然有时认为后者是神的秘密
名字的图像类比，但更倾向于将其视为恶魔的启示，或至少是受非法行为玷污的作品而予以拒绝。第一个关于护身符起
源的神话就证明了这种对护身符的矛盾态度。

How do the Ethiopians look upon talismans and figurative

埃塞俄比亚人如何看待护身符和比喻？

images? Figurative painting, according to one dabtara, depicts what has been seen and tells the story of a person. It is
human work, whereas the talismans were revealed by invisible demons who had been summoned and then forced to divulge
their secrets. Hence their nonfigurative nature and the necessity of copying them exactly.

图像？达布塔拉认为，具象绘画描绘的是所见所闻，讲述的是一个人的故事。它是人类的杰作，而符箓则是由无形的恶
魔揭示的，这些恶魔被召唤后被迫泄露了他们的秘密。因此，它们具有非图像性，而且必须完全复制。
According to legend, figurative painting began at the time of Christ: an image on the Angel Gabriel’s wing of Mary holding
the infant Jesus; a painting of the crucifixion made by Saint John at the request of the “King of Rome”; a portrait of Mary by
Saint Luke. In the last two cases, at least, it is a question of depicting an event, of keeping it alive in memory by circulating
its image. The expansion of this art is connected with the memory of Christ and the teaching of the Gospels.

据传说，具象绘画始于基督时代：天使加百列翅膀上的玛丽亚抱着婴儿耶稣的图像；圣约翰应 "罗马王 "的要求绘制的耶

稣受难图；圣卢克绘制的玛丽亚肖像。至少在后两种情况下，这是一个描绘事件的问题，是一个通过传播其形象使其在
记忆中存活的问题。这种艺术的扩展与对基督的纪念和福音书的教导有关。

As a matter of fact, the apprentice painter must study religious history and practice drawing its well-known compositions,
each of which is accompanied by a title: “How our Lord was crucified,” “the image of Saint Michael,” and so on. This is also
the case for the nonreligious painting that evolved out of it. The apprentice learns that a rainbow is painted in four colors,
that the coat of Saint George’s horse is white, etc. Forms and colors go with the figures depicted and are fixed by canons.

事实上，学徒画家必须学习宗教历史，练习绘制著名的作品，每幅作品都有一个标题："我们的主是如何被钉在十字架上
的"、"圣米迦勒的形象 "等等。由其演变而来的非宗教绘画也是如此。学徒知道彩虹是用四种颜色绘制的，圣乔治的马的
外衣是白色的，等等。形式和颜色与所描绘的人物相匹配，并由规范固定下来。

How are talismans transmitted? A dabtara, unable to satisfy a client’s demand himself, goes to see a colleague. The
colleague hems and haws, requires much urging, and finally, under the seal of secrecy, gives him a prayer together with its
talisman. He indicates what it is good for, the prayer associated with it, the ritual for its use, and gives assurances of its
effectiveness by stating how many times he has used it and from whom he obtained it. The talisman sometimes comes with
a title (“The Seal of Sirak,” for example), but in no case will a book say, “put the Seal of Sirak here,” without also giving the
design for the talisman.

护身符是如何传播的？一个达布塔拉自己无法满足客户的要求，就去找同事。同事费尽口舌，千叮咛万嘱咐，最后在保
密的情况下，把祈祷文和护身符一起交给他。他说明了护身符的作用、与之相关的祈祷词、使用仪式，并通过说明自己
使用了多少次以及从谁那里得到的来保证护身符的有效性。护身符有时会附带一个标题（例如 "西莱克印记"），但无论
如何，书中都不会只说 "把西莱克印记放在这里"，而不给出护身符的设计。

According to another dabtara, figurative painting is like photography: the point is to represent some figure from head to
foot. It is merely the exact appearance of things. The talisman, on the other hand, is connected with what is hidden.
Something, a spirit, is hidden on the person. It attacks for the first time in a certain place, at a certain hour, and after that
comes back under different guises to terrorize him and strike again. The talisman, together with the Names of God,
represents an opposition (mäqqawämya) and an

另一位达布塔拉认为，具象绘画就像摄影：重点在于从头到脚表现某个人物。它只是事物的确切外观。而护身符则与隐
藏的东西有关。人身上隐藏着某种东西，一种精神。它在某个地点、某个时间发动第一次攻击，然后以不同的面目再次
出现，恐吓他并再次发动攻击。护身符与神的名字一起，代表着一种对立（mäqqawämya）和一种
interdiction (hermät), a protection (mäkkä lakäya), and a cure (mädañna). For this dabtara, talismans are not at all
abstract; as patterns of knots, they are intimately connected with the sick person’s life, the places he frequents, his moments
of hallucination, the spirits that attack him. From a Western point of view, it would seem

禁制（hermät）、保护（mäkkä lakäya）和治疗（mädañna）。对于这种达布塔拉人来说，护身符一点也不抽象；作为
结的图案，它们与病人的生活、他常去的地方、他产生幻觉的时刻、攻击他的鬼魂密切相关。从西方的角度来看，似乎

X
that the talismans portray-following particular requirements-an ordinary world that is threatening and inhabited by
invisible powers. Thus, it will be worthwhile to characterize their style by comparing them with works of religious and
decorative art that treat some of the same themes (angels, crosses, knotwork) for different purposes.

这些护身符按照特定的要求描绘了一个充满威胁、居住着无形力量的普通世界。因此，将这些护身符与宗教和装饰艺术
作品进行比较，以确定其风格特征，这些作品出于不同目的处理了一些相同的主题（天使、十字架、绳结）。

Many of the figurative drawings on the scrolls are graffiti, no more marked than those on Greco-Egyptian amulets: they are
ageless. Yet, whenever a painter has executed a figurative image with particular care, he has done it in the academic
religious style known as the second school of Gondar, which emerged in the eighteenth century and is still appreciated by
contemporary Ethiopians because of the realism of its reliefs, as well as the impression of richness and opulence in its
brocades laced with gold and silver. On the scrolls, these images are meant to remind the demons of how Saint Michael

卷轴上的许多肖像画都是涂鸦，与希腊-埃及护身符上的涂鸦没有什么区别：它们是永恒的。然而，每当有画家精心绘制
一幅肖像画时，他都是按照被称为贡达尔第二学派的学术宗教风格绘制的。贡达尔第二学派兴起于十八世纪，因其浮雕
的写实性以及金银镶边的锦缎给人富丽堂皇的印象，至今仍受到当代埃塞俄比亚人的喜爱。在卷轴上，这些图像旨在提
醒恶魔们圣米迦勒是如何

overcame Satan, or Susenyos vanquished Werzelya-to point out to them their worthlessness and ugliness in the face of
divine beauty and power. Through these images, the sick Christian takes refuge in God: “As you gave Susenyos the victory
over Werzelya, Lord, save me from the demons.” But most talismans, whether figurative or not, are characterized by a
geometric style which also appears, to a lesser degree, in religious art, and which, because of its constancy and its presence
even in the humblest and most spontaneous works, may be called traditional.

他们指出，在神圣的美和力量面前，他们是无用和丑陋的。通过这些形象，生病的基督徒在上帝那里得到了庇护："就像
你让苏塞尼奥斯战胜了维尔泽利亚一样，主啊，请把我从恶魔手中拯救出来吧。"但大多数护身符，无论是否具象，都以
几何风格为特征，这种风格也出现在宗教艺术中，但程度较轻，由于其恒定性，甚至出现在最卑微、最随性的作品中，
可以称之为传统风格。

To sum up the history of Ethiopian religious art since the fourteenth century from a sociopolitical point of view, it appears
that figurative art is connected with the centralization of political and religious authority (quite evident in the fifteenth
century with the Emperor Zara Yaqob and at the turn of the eighteenth century in Gondar), while geometric art is
connected with the local authority of the monasteries and the work of the dabtaras. Whatever may have been the motives of
the central authority and its taste for foreign models, the modern era shows a cleavage between religious art which is public
and official, and talismanic art. Official art perpetuates the realism and pomp of Gondar, while the talismanic art is

从社会政治的角度来总结埃塞俄比亚 14 世纪以来的宗教艺术史，可以看出具象艺术 与政治和宗教权威的中央集权有关

（这在 15 世纪扎拉-雅各布皇帝和 18 世纪之交的贡 达尔非常明显），而几何艺术则与寺院的地方权威和达布塔拉的工作
有关。无论中央政府的动机是什么，也无论它对外国模型的喜好如何，近现代的宗教艺术和护身符艺术之间都存在着分
歧，前者是公共和官方的艺术，后者则是护身符艺术。官方艺术延续了贡德尔的现实主义和浮华，而护身符艺术则是
XI. Centaur. Shown with a lion’s body and the head and upper body of a man, equipped with two tails in the shape of a
snake, and armed with a bow. It was defeated by Saint Claudius.

XI.半人马它有狮子的身体、人的头部和上半身，装备有两条蛇形尾巴，手持弓箭。它被圣克劳狄乌斯击败。

personal and secret with a geometric style which, despite an occasional degeneracy of technique, is constantly being
renewed. The dabtaras gladly claim as their own the old geometric religious art, as well as the complex knot motifs from
before the seventeenth century -which they consider to be talismans because the double lines are not contours, but are
meant to join together the various parts of the surface.

尽管偶尔会出现技术退化的情况，但这种几何风格仍在不断更新。达布塔拉人乐于将古老的几何宗教艺术以及十七世纪
以前的复杂绳结图案视为自己的作品，他们认为这些图案是护身符，因为双线不是轮廓线，而是为了将表面的各个部分
连接起来。
If we look at Ethiopian art from a synchronic point of view, it would seem that there are certain motifs common to the
decorative, religious, and magical arts, developed and modified in each according to the demands of the particular thought
animating it. An extremely simple and frequent shift occurs in the treatment of the four-petalled rosette (Figure VIII: 1A).
By hollowing diagonals, the religious artists bring out the shape of the Cross (1B), whereas by keeping only the diagonal
ovals which are treated as eyes, the dabtaras make it a talisman (1C). The figures in VIII: 2 show a more

如果我们从同步的角度来审视埃塞俄比亚艺术，就会发现装饰艺术、宗教艺术和魔法艺术中都有一些共同的图案，这些
图案在每一种艺术中都会根据特定思想的需要而有所发展和变化。在处理四瓣莲座花环（图八：1A）时，就出现了一种
极其简单而频繁的变化。通过挖空对角线，宗教艺术家将十字架的形状表现出来（1B），而通过只保留对角线上被视为
眼睛的椭圆形，达布塔拉人将其变成了护身符（1C）。八：2 中的图形显示了更多的
XII. Demon (?) An image derived from the figure shown in Plate 24.

XII.恶魔（？）这幅图像源自图 24 中的人物。
XIII. Protecting Figure. Compare the drawing of this figure with that in Plate 30.

XIII.保护图。将该图的绘制与图 30 进行比较。
XIV. Saints or Prophets Praying and Offering Blessings.

XIV.圣徒或先知祈祷和献上祝福。
XV. Solomon and the Labyrinth. Solomon built a palace in the form of a seven-circled labyrinth. Sirak deceived him and
stole one of his wives by means of a tunnel dug between Sirak’s house and the center of Solomon’s palace.

十五.所罗门与迷宫所罗门建造了一座七环迷宫式的宫殿。西拉克欺骗了他，在西拉克的房子和所罗门宫殿中心之间挖了
一条地道，偷走了他的一个妻子。

complex transformation. In A, the decorative motif is made up of crossbars and rosettes juxtaposed. In B, from the back of
an icon, the engraver has brought out the Cross, and the rosettes are also seen as Crosses. In C, a talisman from a scroll, the
rosettes have become eyes, and the crossbars an eight-pointed star with a face in the center.

复杂的变化。在 A 中，装饰图案由并列的横杆和莲座组成。在 B 中，雕刻师从圣像的背面刻出了十字架，莲座也被视为

十字架。在 C 中，这是一个卷轴上的护身符，玫瑰花形图案变成了眼睛，而横梁则是一颗八角星，中间有一张脸。

The Color Plates in this book show how the dabtaras have adapted images from traditional geometric art to their own way
of thinking by centering them around eyes. Since we have no commentaries from the past, except for very short titles, we
must content ourselves with what present-day dabtaras have to say. We will refer to their explanations as often as possible.
Among the most arresting is the notion that the talisman reproduces the awesome vision of the demon in a liberating way.
The whole design goes to reinforce the power of the eyes. Thus, it is not a question of representing the evil eye or the good
eye, but of portraying eyes that will act here and now upon the sick person and deliver him from spells and possession.

本书中的彩图展示了达布塔拉人如何以眼睛为中心，将传统几何艺术中的图像改编成自己的思维方式。由于除了非常简
短的标题之外，我们没有过去的评论，因此我们必须满足于现在的达布塔拉们的说法。我们将尽可能多地参考他们的解
释。其中最引人注目的是护身符以一种解放的方式再现了恶魔的可怕景象。整个设计都是为了加强眼睛的力量。因此，
这不是一个代表邪恶之眼或善良之眼的问题，而是一个描绘眼睛的问题，这双眼睛会在此时此地作用于病人，将他从咒
语和附身中解救出来。

Designs centered on eyes are typical of the art of the scrolls. More rarely, we find two other kinds of talismans: talismans
with an explicit symbolism, and diagrammatic talismans copied from books of protection such as the Net of Solomon or the
Prayers for Undoing Spells.

以眼睛为中心的图案是卷轴艺术的典型特征。更罕见的是，我们还发现了另外两种护身符：一种是具有明确象征意义的
护身符，另一种是从《所罗门之网》或《解除咒语祷文》等保护书籍中复制的图解式护身符。

Figure IX shows an explicitly symbolic talisman, taken from a scroll made by an Amhara dabtara from Bägémder at the
beginning of the twentieth century. We recognize the rosette motif of Figure VIII, surrounded by knotwork with a dozen
eyes in its loops. The square around the whole is called “Solomon’s Outer Wall.” Certain of the palm-leaf motifs radiating
from it are known as “Solomon’s Finest Robe” (märgäf). The four discs at top and bottom symbolize the “Angels’
Scapulars.” The title, “And at the Word of God the heavens became solid,” suggests the all-powerfulness of the Word.

图九展示的是一个具有明确象征意义的护身符，取自二十世纪初拜盖姆德的一位阿姆哈拉达布塔拉制作的卷轴。我们可
以认出图 8 中的莲座图案，其周围的绳结上有十几只眼睛。整体周围的正方形被称为 "所罗门的外墙"。从它辐射出来的
一些棕榈叶图案被称为 "所罗门最精美的长袍"（märgäf）。顶部和底部的四个圆盘象征着 "天使的披肩"。标题 "神的话
一出，天就稳固了 "暗示了神的全能。

These interpretations are suggested by the layout (aqqämamät) of the talisman: the square suggests a wall; the row of fine
lines the fringe of a robe; the discs headpieces. They are governed by a play of metaphors and metonymies. Just as the outer
wall of Solomon’s palace stopped the devils and demons, so this talisman will protect one against impure spirits. Just as the
fine robe covered Solomon and the scapulars covered the angels, so one will be covered by this talisman. The fringe of the
robe, the crowns of the head-

护身符的布局（aqqämamät）暗示了这些解释：方形暗示墙壁；一排细线暗示长袍的流苏；圆盘暗示头饰。它们受隐喻
和转喻的支配。正如所罗门宫殿的外墙阻挡了魔鬼和恶魔，这个护身符也能保护人们免受不洁灵魂的侵扰。就像精美的
袍子遮住了所罗门，肩章遮住了天使，这个护身符也会遮住人。长袍的流苏、头顶的冠冕

pieces, the wall of the palace are metonymic representations of Solomon and the angels, conquerors of demons.

宫殿的墙壁上有所罗门和天使的隐喻，他们是魔鬼的征服者。
Such interpretations (tergum) are very rarely written down. The remain the private counsel of a few specialists.

这种解释（tergum）很少被写下来。它们仍然是少数专家的私人意见。

The talismans in books such as the Prayers for Undoing Spells (Figure X) are the most archaic. This type of book was
greatly prized in the time of the Kings of Gondar (seventeenth through nineteenth centuries). Unlike the pictures in scrolls,
they are scrupulously copied and thus can teach us something about the old talismanic art. The explanations are limited to
their use, the prayers connected with them, their origins. However, in some cases their symbolism is obvious. The
“characters” or ringed signs, an inheritance from ancient magic, are interpreted here as chains binding the demons (egrä
berät); the Net or Bed of Solomon, the Cross, the ornaments on clothing, the images of demons or the Names of God, are at
once figurative portrayals and forms of writing. In certain complex talismans, the knotwork itself is composed of letters and
is so named harägawi fidäl, or “letters in knots.” They are essentially, effective speech.

解咒祷文》（图十）等书中的符咒最为古老。在贡德尔国王时代（十七世纪到十九世纪），这类书籍非常珍贵。与卷轴
中的图画不同，它们是严格复制的，因此可以让我们了解一些古老的符咒艺术。解释仅限于其用途、与之相关的祷文和
起源。不过，在某些情况下，它们的象征意义是显而易见的。字符 "或环形标志是从古代魔法中继承下来的，在这里被解
释为捆绑恶魔的锁链（egrä berät）；所罗门之网或所罗门之床、十字架、衣服上的装饰品、恶魔的图像或神的名字，既
是具象的描绘，也是书写的形式。在某些复杂的护身符中，绳结本身就是由字母组成的，因此被称为 harägawi fidäl，或
"绳结中的字母"。它们本质上是有效的语言。

The two types of talismans briefly described here are remarkable for the role that signification plays in them, the lines
becoming written letters or objects that are articulated syntactically to the purpose of the talisman. Can one go so far as to
say that a talisman is the imaging of a magic invocation, its incantations, metaphors, and metonyms? The dabtaras multiply
their meanings, but none represents the truth of the talisman. Thus, it is more accurate to say that a talisman is resonant
with a multiplicity of possible invocations which can magnify its effect.

这里简要介绍的两类护身符的显著特点是符号在其中发挥的作用，线条成为书写的字母或物体，在句法上与护身符的目
的相衔接。甚至可以说，护身符就是魔法咒语、咒语、隐喻和隐语的成像？达布他拉（dabtaras）的含义多种多样，但
没有一种能代表符箓的真相。因此，更准确的说法是，符箓与多种可能的召唤产生共鸣，可以放大其效果。

Why are the types of talismans so different? In the Color Plates in this book, there is very little writing, the colors are warm
and varied, and the images become specular: the knotwork turns into the silhouette of a person, and the visual effect of
entrapment is accentuated by the centering of the design upon the eyes. These qualities must be seen in relation to the
culture of the intended recipient. Books of protection are made for the literate and are conceived as reminders and exact
copies of ancient models, but scrolls are made for illiterate peasants and must be suited to their sensibility. Although the
dabtaras claim only to copy models (in fact,

为什么符箓的种类如此不同？在本书的彩图中，文字很少，色彩温暖而多变，图像变得镜面化：绳结变成了人的轮廓，
以眼睛为中心的设计突出了禁锢的视觉效果。这些特质必须与目标受众的文化相关联。保护书是为识字的人制作的，是
作为提醒和对古代模式的精确复制而构思的，但卷轴是为不识字的农民制作的，必须适合他们的感性。虽然达布塔拉人
声称他们只是复制模型（事实上，他们只是在复制一个模型），但他们是在复制一个 "模型"、
XVI. Angel Killing an Ithyphallic Demon. Demons, because they are fallen angels, are equipped with penises. They attack
women in the form of incubuses.
 XVI.天使杀死鱼鳞恶魔。恶魔因为是堕落天使，所以都有阴茎。它们以孵化女妖的形式攻击女性。

they do draw from codified traditions of religion, magic, and ornamentation), their work is affected by their knowledge of
the sick person’s life. Hence this form of art that reflects the popular idea of the affliction (expulsion, protection), and its
surprising mixture of spontaneity and learning, terror and reassurance. It is significant that this unusual conjunction of the
wisdom of the learned and the needs of the people occurs in connection with medicine and not with the making of a “work
of art.” As it is, a dabtara had labeled one of his talismans - “strong medicine. . . .”

他们确实从成文的宗教、魔法和装饰传统中汲取养分，但他们对病人生活的了解也影响着他们的作品。因此，这种艺术
形式反映了大众对苦难（驱逐、保护）的看法，并令人惊讶地融合了自发性与学问、恐怖与安抚。值得注意的是，这种
不寻常的学识智慧与民众需求的结合是与医学有关，而不是与制作 "艺术品 "有关。事实上，一位达布塔拉人给他的一个
护身符贴上了 "猛药 "的标签。. . ."
XVII. Guardian Angel. 十七.守护天使
XVIII. Lobed Talisman. This form is an intermediary stage in the development of the image in Plate 28.

XVIII.叶状护身符。这种形式是图版 28 中图像发展的中间阶段。

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Rodinson, M. Magie, médecine et possession à Gondar.巴黎，1967 年。

Strelcyn, S. “Prières magiques éthiopiennes pour délier les charmes.” Rocznik Orientalistiyczny XVIII (1955).

Strelcyn, S. "埃塞俄比亚解除符咒的魔法祷文"。Rocznik Orientalistiyczny XVIII (1955).

.“La magie éthiopienne.” Atti dell Convegno Internazionale di studi étiopici 1959, pp. 147-166. Rome, 1960.

. "埃塞俄比亚的魔法"。Atti dell Convegno Internazionale di studi étiopici 1959, pp.罗马，1960 年。

Wagner, E. “Die Illustrationen der äthiopischen Zauberrollen der Sammlung Littmann.” Der Orient in der Forschung,
Festschrift für Otto Spies zum 5 April 1966, pp. 706-732. Wiesbaden, 1967.

Wagner, E. "Die Illustrationen der äthiopischen Zauberrollen der Sammlung Littmann." Der Orient in der Forschung,
Festschift für Otto Spies zum 5 April 1966, pp.Der Orient in der Forschung, Festschrift für Otto Spies zum 5 April 1966,
pp.威斯巴登，1967 年。

Worrell, W. H. “Studien zum abessinischen Zauberwesen.” Zeitschrift für Assyriologie XXIII (1909): 149-183; XXIV (1910):
59-96; XXIX (1914-1915): 85-141.

Worrell, W. H. "Studien zum abessinischen Zauberwesen".Zeitschrift für Assyriologie XXIII (1909): 149-183; XXIV
(1910): 59-96; XXIX (1914-1915): 85-141.

Young, A. “Magic as a Quasi-profession, the Organization of Magic and Magical Healing among the Amhara.” Ethnology
XIV (1975): 245-265.

Young, A. "Magic as a Quasi-profession, the Organization of Magic and Magical Healing among the Amhara." 《阿姆哈
拉人的魔法准职业、魔法组织和魔法治疗》。民族学 XIV (1975)：245-265.

LIST OF COLOR PLATES AND BLACK-AND-WHITE FIGURES

彩图和黑白图片一览表

NOTE: Titles have been given to all the scrolls in order to facilitate the reading of this book. The introductory text has
shown that the particular figuration is a very secondary dimension of these talismans, but the suppression of their ritual
context tends to make it necessary to indicate certain representations. Heads bristling with snakes are perhaps the most
spectacular figures. Such motifs have been used for purposes of protection since ancient times. The Greeks, it is thought,
used the Gorgon’s head for protection against the evil eye, and the head of Dan surrounded by seven snakes was drawn on
Byzantine amulets. According to the Islamic historian Masudi, Alexander went to the bottom of the sea in a glass bell in
order to make drawings of the diabolical monsters that were keeping him from building Alexandria. He reproduced the
images on metal and placed them in front of the buildings he had begun. When the monsters emerged from their lairs and
saw the images, they fled and let the construction be completed. A similar act is attributed to Solomon, as related in a
legend concerning the origins of talismans. Heads bristling with snakes are also common in Asiatic imagery.

注：为便于阅读本书，所有卷轴均有标题。介绍性文字已经表明，特定的形象是这些护身符的次要内容，但由于压制了
其仪式背景，因此有必要指出某些表现形式。蛇头可能是最壮观的形象。这种图案自古以来就被用于保护目的。据说，
希腊人用戈尔贡的头颅来抵御邪眼，而拜占庭的护身符上则画着被七条蛇环绕的丹的头颅。根据伊斯兰历史学家马苏迪
的说法，亚历山大为了画出阻止他建造亚历山大城的恶魔怪物的图画，曾乘坐玻璃钟潜入海底。他将这些图像复制到金
属上，并将其放置在他已开始建造的建筑物前。当怪兽们从巢穴中出来看到这些图像时，它们便逃之夭夭，任由工程完
工。关于护身符起源的传说中，所罗门也有类似的行为。在亚洲的图像中，蛇头也很常见。
I. Scroll made for Täwäldä Mädhen Eighteenth century

I. 为 Täwäldä Mädhen 制作的卷轴 十八世纪

Tigrean (Here and in what follows the word Tigrean designates the regions of Tigrean culture, including the province of
Tigray itself, plus the south of Eritrea and the north of Bägémder)

提格雷语（在此处及下文中，提格雷语指提格雷文化地区，包括提格雷省本身，以及厄立特里亚南部和贝格姆德北
部。）

Plate 1. Guardian Angel (first picture):

图版 1.守护天使（第一幅）：

Plate 2. The Cross (second picture): 35 x 18.5 mm

图版 2.十字架（第二幅）：35 x 18.5 毫米

Plate 3. A Church (third picture): 31 x 18 mm

图版 3.一座教堂（第三幅）：31 x 18 毫米

II. Scroll made for Täsfa Giyorgis

II.为 Täsfa Giyorgis 制作的卷轴

Early nineteenth century 十九世纪早期

Tigrean 提格雷语

Plate 4. Guardian Angel (first picture):

图版 4.守护天使（第一幅）：

Plate 5. A Demon (?) (second picture):

图版 5.恶魔（？）（第二幅）：

Plate 6. The Nine Saints (third picture):

图版 6.九圣图（第三幅）：

III. Scroll made for Hedarä Maryam

III.为 Hedarä Maryam 制作的卷轴

Eighteenth century 十八世纪

Tigrean 提格雷语

Plate 7. Demon (?) (second picture): 27 x 8 mm

图版 7.恶魔（？）（第二幅）：27 x 8 毫米

IV. Scroll made for Wälättä Berhan

IV.为 Wälättä Berhan 制作的卷轴

Second half of nineteenth century

十九世纪下半叶

Tigrean 提格雷语

Plate 8. Guardian Angel (first picture):

图版 8.守护天使（第一幅）：

Plate 9. Eight-Pointed Star (second picture):

图版 9.八角星（第二幅）：

V. Scroll made for Wälättä Esraél

V.为 Wälättä Esraél 制作的卷轴

Eighteenth century 十八世纪

Amhara (?) 阿姆哈拉（？）
Paris, Bibliothèque Nationale, Ethiopien d’Abbadie 192 A

巴黎，国家图书馆，Ethiopien d'Abbadie 192 A

Plate 10. Daniel (?) (second picture): 34 x 22 mm

图版 10.丹尼尔（？34 x 22 毫米

Plate 11. Solomon (fourth picture): 22 x 16 mm

图版 11.所罗门（第四幅）：22 x 16 毫米

VI. Scroll belonging to Wälättä Haymanot (second owner; the name of the first has been erased)

VI.属于 Wälättä Haymanot 的卷轴（第二位所有者；第一位所有者的名字已被抹去）

Nineteenth century 十九世纪

Provenance (?) 出处（？）
Addis Ababa, Institute of Ethiopian Studies, ms. 145

亚的斯亚贝巴，埃塞俄比亚研究所，ms.

Plate 12. Jesus Christ (second picture):

图版 12.耶稣基督（第二幅）：

VII. Scroll belonging to Wälättä

VII.属于韦莱塔的卷轴

Maryam (second owner) 玛丽亚姆（二房东）

Early nineteenth century

十九世纪早期

Tigrean 提格雷语
(fragment) （片段）
Plate 13. Protecting Figure (second picture):
 图版 13.保护图（第二幅）：

VIII. Scroll made for Gäbrä Ananya

VIII.为 Gäbrä Ananya 制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语
(fragment) （片段）
Plate 14. A Demon (?) (first picture): 26 x 18 mm

图版 14.恶魔（？）（第一幅）：26 x 18 毫米

IX. Scroll made for Wäldä Täklä Haymanot

IX.为 Wäldä Täklä Haymanot 制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语
(fragment) （片段）
Plate 15. Two Angels (second picture):

图版 15.两个天使（第二幅）：

X. Scroll made for Mahlétä Maryam

X.为马赫莱塔-玛丽亚姆制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语

Plate 16. Saint George (second picture):

图版 16.圣乔治（第二幅）：

XI. Scroll made for Wälättä Haymanot

XI.为韦莱塔-海马诺特制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语
Addis Ababa, Institute of Ethiopian Studies, ms. 293

亚的斯亚贝巴，埃塞俄比亚研究所，ms.293

Plate 17. Abba Samuel on his Lion (second picture):

图版 17.阿巴-塞缪尔在他的狮子上（第二张照片）：

XII. Scroll belonging to Wälättä Täklä Haymanot (second owner)

XII.属于 Wälättä Täklä Haymanot（第二拥有者）的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语
Plate 18. Gäbrä Mänfäs Qeddus (second picture):

图版 18：Gäbrä Mänfäs Qeddus（第二幅）：

XIII. Scroll made for Hirutä Sellasé

XIII.为希鲁塔-塞拉塞制作的卷轴

Late nineteenth century 十九世纪末

Tigrean 提格雷语

Plate 19. A Cherub (?) (second picture):

图版 19：一个小天使（？

XIV. Scroll made for Gäbrä Sellasé

XIV.为 Gäbrä Sellasé 制作的卷轴

Nineteenth century 十九世纪

Provenance (?) 出处（？）

Plate 20: Faces and Checkered Patterns (second picture):

图版 20：面孔和方格图案（第二幅）：

XV. Scroll made for Ehtä Giyorgis

XV.为 Ehtä Giyorgis 制作的卷轴

Eighteenth century 十八世纪

Axum 阿克苏姆
Berlin, Preussischer Kulturbesitz, ms. Or. quart. 1018 (2)

柏林，Preussischer Kulturbesitz，ms.1018 (2)

Plate 21. Nine Angels (second picture):

图版 21.九个天使（第二幅）：

XVI. Scroll made for Wäldä Sellasé

XVI.为 Wäldä Sellasé 制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语

Plate 22. Protective Motif (second picture):

图版 22.保护图案（第二幅）：

XVII. Scroll made for Wäldä Giyorgis and Wälättä Egzie

XVII.为 Wäldä Giyorgis 和 Wälättä Egzie 制作的卷轴

Eighteenth century 十八世纪

Tigrean 提格雷语
(fragment) （片段）
Plate 23. Soldiers of Legion (?) (first picture):
 图版 23.军团士兵（？）（第一幅）：

XVIII. Scroll made for Wälättä Maryam

XVIII.为 Wälättä Maryam 制作的卷轴

Eighteenth century 十八世纪

Tigrean 提格雷语

Plate 24. Demon (?) (second picture): 28 x 11 mm

图版 24.恶魔（？）（第二幅）：28 x 11 毫米

XIX. Scroll made for Wälättä Hywät

XIX.为 Wälättä Hywät 制作的卷轴

Early twentieth century 二十世纪初

Tigrean 提格雷语

Plate 25. Two-headed Demon (?) (second picture):

图版 25.双头恶魔（？）（第二幅）：

XX. Scroll made for Gäbrä Mädhen

为 Gäbrä Mädhen 制作的 XX 卷轴

Early twentieth century 二十世纪初

Tigrean 提格雷语

Plate 26. Demon (first picture): mm

图版 26.恶魔（第一幅）： 毫米

XXI. Scroll made for Wälättä Kidan

XXI.为 Wälättä Kidan 制作的卷轴

Nineteenth century 十九世纪

Axum 阿克苏姆
Berlin, Deutsche Staatsbibliothek, ms. Or. oct. 4068

柏林，德国国家图书馆，ms.Or.

Plate 27. Solomon, Chief of Wise Men (inscription) (second picture): mm

图版 27.智者之首所罗门（题记）（第二幅）： 毫米

XXII. Scroll belonging to Wälättä Giyorgis (second owner)

XXII.属于 Wälättä Giyorgis（第二拥有者）的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语

Plate 28. Lobed Talisman (second picture):

 图版 28.裂片护身符（第二幅）：

XXIII. Scroll made for Askalä Maryam

二十三.为阿斯卡莱-玛丽亚姆制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语

Plate 29. Sun and Three Animals (fifth picture):

图版 29.太阳和三只动物（第五幅）：

XXIV. Scroll made for Wälättä Täklä Haymanot

二十四.为 Wälättä Täklä Haymanot 制作的卷轴

Early nineteenth century

十九世纪早期

Tigrean 提格雷语

Plate 30. Tigrean Woman (third picture):

图版 30.提格雷妇女（第三幅）：

XXV. Scroll made for Tsädalä Maryam

二十五.为 Tsädalä Maryam 制作的卷轴

Nineteenth century 十九世纪

Provenance (?) 出处（？）

Plate 31. Susenyos and Werzelya (second picture):

图版 31.Susenyos 和 Werzelya（第二幅）：

XXVI. Scroll made for Wälättä Sellaśe

XXVI.为韦莱塔-塞拉希制作的卷轴

Nineteenth century 十九世纪

Provenance (?) 出处（？）

Plate 32. Twelve Angels (second picture):

图版 32.十二个天使（第二幅）：

XXVII. Scroll made for Gäbrä

XXVII.为 Gäbrä 制作的卷轴

Ewostatéwos
Nineteenth century 十九世纪

Provenance (?) 出处（？）

Plate 33. Guardian Angel (second picture):

图版 33.守护天使（第二幅）：

XXVIII. Scroll made for Wälättä Qirqos Melénu

二十八.为 Wälättä Qirqos Melénu 制作的卷轴

Nineteenth century 十九世纪

Provenance (?) 出处（？）

Plate 34. Saint Susenyos Praying (second picture):

图版 34.圣苏塞尼奥斯在祈祷（第二幅）：

XXIX. Scroll made for Ehtä Maryam Täyma

二十九.为 Ehtä Maryam Täyma 制作的卷轴

Nineteenth century 十九世纪

Provenance (?) 出处（？）
Paris, Collection of Hubert Comte

巴黎，于贝尔-孔特收藏

Plate 35. Satan Imprisoned (third picture):

图版 35.被囚禁的撒旦（第三幅）：

XXX. Scroll belonging to Neblä

XXX.属于 Neblä 的卷轴

Dängel (second owner) Dängel（第二业主）

Early nineteenth century

十九世纪早期

Tigrean 提格雷语

Plate 36. The Cross between Michael and Gabriel (first picture):

图版 36.米迦勒和加百列之间的十字架（第一幅）：

Plate 37. King Alexander the Great (second picture):

图版 37.亚历山大大帝（第二幅）：

Plate 38. How Solomon Killed the

第 38 盘所罗门是如何杀死

Demon-Blacksmiths’ Kings (inscription) (third picture):

恶魔铁匠之王（铭文）（第三张图片）：

Plate 39. How King Alexander Entered the Land of the Eternal Aided by a Bird’s Mouth (fourth picture):

图版 39.亚历山大国王如何在鸟嘴的帮助下进入永恒之地（第四幅）：

XXXI. Scroll made for Täklä Yohannes

 XXXI.为 Täklä Yohannes 制作的卷轴

Late nineteenth century 十九世纪末

Tigrean 提格雷语

Plate 40: Angels of the Four Directions (third picture):

图版 40：四方天使（第三幅）：

BLACK AND WHITE FIGURES

黑白人物

I. Priests reading Prayers for Undoing Spells for a sick woman (Tigray). II. A dabtara painting a talisman.

I.牧师为一名患病妇女宣读解咒祷文（提格雷语）。II.画符的达布塔拉人。

III. A woman wearing scrolls and

III.一位头戴书卷的妇女

other amulets on a shoulder strap (Wollo).

肩带上的其他护身符（Wollo）。

IV. A scroll hung up in the house of a

IV.挂在一个人家里的卷轴

Tigrean peasant woman. 提格雷农妇

V. Monastery of Gunda Gundié

V. 贡达贡代修道院

(Tigray), Book of Gospels, Virgin and Child, fifteenth century. Note the apocalyptic themes. This is a masterpiece of
geometric art. VI. Church of Ashätän Maryam (Wollo), foldout. An example of geometric religious art of the seventeenth
and eighteenth centuries. VII. Monastery of Qoyätsä Samuel (Tigray), manuscript of the time of King Bakaffa (eighteenth
century). Saint Michael comes to drive away the demon that is tormenting the woman holding his image. This is the
realistic style of the second school of Gondar. VIII. A simple inversion of a cross-talisman.

(提格雷），《福音书》，圣母与圣婴，十五世纪。注意世界末日的主题。这是几何艺术的杰作。VI.Ashätän Maryam 教
堂（沃洛），折叠式。十七和十八世纪几何宗教艺术的典范。VII.Qoyätsä Samuel 修道院（提格雷），巴卡法国王时期
（十八世纪）的手稿。圣米迦勒前来驱赶正在折磨手持其圣像的妇女的恶魔。这是刚达第二派的写实风格。VIII.十字塔
利斯曼的简单倒置。

A) Decorative motif B) Religious and C) Talismanic.

A) 装饰图案 B) 宗教图案和 C) 护身符图案。

IX. Paris, Bibliothèque Nationale, Ethiopian 433. Third picture in a scroll of the nineteenth or twentieth century.

IX.巴黎，国家图书馆，埃塞俄比亚 433 号。十九世纪或二十世纪卷轴中的第三幅画。

X. London British museum, Or. 11390, fol. . The medical book of Abba Bäntähun, Prayers for Undoing Spells,
eighteenth to nineteenth century.

X. 伦敦大英博物馆，Or.11390, fol. 。Abba Bäntähun 的医书，《解咒祷文》，十八世纪至十九世纪。

XI. Scroll made for Haylä Iyäsus

XI.为海莱-伊亚苏斯制作的卷轴

Nineteenth century 十九世纪

Tigrean 提格雷语
(fragment) （片段）
Centaur (fifth figure):

半人马（第五个人物）：

(Centaur with a lion’s body and the head and upper body of a man, equipped with two tails in the shape of a snake and
armed with a bow. It was defeated by Saint Claudius.)

(半人马，长着狮子的身体、人的头和上半身，装备有两条蛇形尾巴，手持弓箭。它被圣克劳狄乌斯击败）。

XII. Scroll made for Wälättä Mikaél

XII.为韦莱塔-米凯尔制作的卷轴

Early nineteenth century 十九世纪早期

Tigrean 提格雷语
Paris, Private Collection

巴黎，私人收藏

Demon (?) (second picture): (An image deriving from the figure in Plate 24.)

恶魔（？）（第二幅）： （源于图版 24 中的人物形象）。

XIII. Scroll made for Wälättä Mikaél Paris, Private Collection

十三.为 Wälättä Mikaél 制作的卷轴，巴黎，私人收藏

Protecting Figure (third picture): 18 x 12.5 mm (Compare the drawing of the figure with Plate 30.)

保护图（第三幅）：18 x 12.5 毫米（将图纸与图 30 进行比较。）

XIV. Scroll made for Hétnora Early nineteenth century

十四.为赫特诺拉制作的卷轴 十九世纪早期

Tigrean 提格雷语
(fragments) （片段）
Saints or Prophets Praying and Offering

圣徒或先知祈祷和献祭

Blessings (second picture): XV. Scroll made for Sergutä Sellase Nineteenth century

祝福（第二张照片）： XV.为 Sergutä Sellase 制作的卷轴 十九世纪

Amhara 阿姆哈拉
Paris. Private Collection

巴黎。私人收藏

Solomon and the Labyrinth (second picture): (Solomon built himself a palace in the form of a seven-circled
labyrinth. Sirak deceived him and stole one of his wives by means of a tunnel dug between his house and the center of the
palace.)
 所罗门与迷宫（第二幅图）： （所罗门为自己建造了一座七环迷宫式的宫殿。西拉克欺骗了他，在他的房
子和宫殿中心之间挖了一条地道，偷走了他的一个妻子）。

XVI. Scroll made for Gäbrä Mikaél

XVI.为 Gäbrä Mikaél 制作的卷轴

Eighteenth century 十八世纪

Amhara 阿姆哈拉
Paris, Collection of Guy Annequin Angel Killing an Ithyphallic Demon (second picture):

巴黎，Guy Annequin 珍藏 《天使杀死鱼鳞恶魔》（第二幅）：

(Demons, because they are fallen angels, are equipped with penises. They attack women in the form of incubuses.)

(恶魔因为是堕落天使，所以有阴茎。它们以 "孵化器 "的形式攻击女性）。

XVII. Scroll made for Askalä Maryam Nineteenth century

十七.为阿斯卡莱-玛丽亚姆制作的卷轴 十九世纪

Tigrean 提格雷语
(fragment) （片段）
Guardian Angel (first picture):

守护天使（第一张照片）：

111m
XVIII. Scroll made for Gäbrä

XVIII.为 Gäbrä 制作的卷轴

Egziabhér
Nineteenth century 十九世纪
Tigrean 提格雷语

Lobed Talisman (fourth picture):

裂片护身符（第四张图片）：

mm (This form is an intermediary stage on the way to the image in Plate 28.)

毫米（这种形式是通往图版 28 中图像的中间阶段）。

PLATES
AND

COMMENTARIES

图版和注释

COMMENTARIES 评论
}
PLATE 1 图 1

Guardian Angel 守护天使

Scrolls very often begin with the figure of an angel who lacks any identifying iconographic details. Or, there may be an
inscription which identifies him as Michael, Gabriel, Raphael, Fanuel, etc. If the scroll has been made in accordance with
the astrological sign of the client, the angel can be the guardian angel corresponding to this sign. But it may also be a very
popular angel, or simply the anonymous angel assigned to protect every Christian.

卷轴的开头往往是一个天使的形象，但没有任何可识别的图标细节。或者，可能会有铭文指明他是米迦勒、加百列、拉
斐尔、法努尔等。如果卷轴是根据客户的星座制作的，天使可能是与该星座相对应的守护天使。但它也可能是一位非常
受欢迎的天使，或者仅仅是被指派保护每一位基督徒的匿名天使。

The angel wields his sword against demons. For example, a salutation to the Angel Fanuel reads: “Greetings to thee! Lift thy
sword against my enemy Mastéma!” And there is an invocation to Michael: “By the sword of Michael let the evil spirits be
cut down and dispersed!”

天使挥剑对抗恶魔。例如，向天使法努埃尔致敬的诗句是"向你致敬向我的敌人马斯特马举起你的剑！"还有对米迦勒的
祈求："用米迦勒之剑斩妖除魔！"

The pictorial style in this scroll is representative of what may be called traditional art. The flat design fills the entire width of
the parchment. The frontal symmetry of the figure is broken only by the hands, while the radiating wings provide a focus for
the picture. The area filled with arcs below the half-figure suggests the vertical outline of the body without breaking up the
pictorial plane. The hand brandishing the sword seems animated by the great red arc from which the wings are outspread.
Two fingers of the angel’s left hand are held up in a gesture of benediction. Their exaggerated length is a common
characteristic of Ethiopian magical or religious painting.

这幅卷轴的绘画风格是传统艺术的代表。扁平的图案填满了羊皮纸的整个宽度。人物的正面对称只被双手打破，而放射
状的翅膀则是画面的焦点。半身像下方充满弧线的区域暗示了身体的垂直轮廓，同时又没有破坏画面的平面。挥舞宝剑
的手似乎因翅膀展开的巨大红色弧线而变得生动。天使左手的两根手指举起，做出祝祷的手势。夸张的长度是埃塞俄比
亚魔法或宗教绘画的共同特征。

The face is painted red (here vermilion), as it almost always is in these scrolls. In religious art, even in the geometric
illuminations of the fifteenth century, the painters have attempted to approximate flesh tones by using a pink ochre. The
use of red in talismans has economic as well as symbolic justifications.

脸部被涂成红色（此处为朱红色），在这些卷轴中几乎总是如此。在宗教艺术中，甚至在十五世纪的几何照明画中，画
家都试图用粉红色的赭石来接近肉色。在护身符中使用红色既有经济方面的原因，也有象征意义。
PLATE 2 图版 2

The Cross 十字架

The Cross is an object of particular veneration in Ethiopia. Every priest carries a Cross which he holds out for the faithful to
kiss, while Christians hang small silver Crosses from their baptismal ribbons. A tatoo of the Cross is an indelible sign that
separates Christians from Muslims, and it is a very common image in these scrolls. Christ’s body is never depicted, not only
out of respect, as in early religious art, but because it is the Cross itself that is being invoked. “Cross, most exalted of all
things; Cross, conqueror of the enemy; Cross, protect me like the pupil of the eye; and cover me, Cross, with the shadow of
your wings; Cross, like a trusty shield you surround us, Lord; Cross, deliver me from my enemies; Cross, let me stand at
your right and left; Cross, deliver me from the wicked man; Cross, I have cried out to you; Cross, hear my words.” So runs
the prayer known as The Rampart of the Cross.

十字架是埃塞俄比亚人特别崇敬的对象。每个牧师都会随身携带一个十字架，拿出来让信徒们亲吻，而基督徒则会在洗
礼缎带上挂上银质的小十字架。十字架纹身是区分基督徒和穆斯林的不可磨灭的标志，也是这些画卷中非常常见的图
像。基督的身体从未被描绘过，这不仅是出于对早期宗教艺术的尊重，更是因为十字架本身就是被召唤的对象。"十字
架，万物中最崇高的；十字架，敌人的征服者；十字架，像瞳孔一样保护我；十字架，用你翅膀的阴影遮盖我；十字
架，主啊，你像可靠的盾牌环绕着我们；十字架，救我脱离敌人；十字架，让我站在你的左右；十字架，救我脱离恶
人；十字架，我已向你呼喊；十字架，请听我的话"。这就是被称为 "十字架护栏 "的祷文。

The fact that the Cross-as-object is portrayed, and not the Crucifixion, shows clearly that a choice has been made to invoke
the Cross as a Cross, blessing and protective, rather than to tell a story. As a matter of fact, this Cross, with its ram’s horn-
shaped arms, is a copy of the brass, wood, and iron Crosses that have been made in Ethiopia since the seventeenth century.
The central part serves as a handgrip, and the lower square symbolizes Adam’s tomb upon which the Cross of the Crucified
was raised. The three tips of the main Cross and of the small Crosses on the periphery, as well as at the bottom, symbolize
the Trinity.

描绘的是作为物体的十字架，而不是耶稣受难的场景，这清楚地表明，人们选择将十字架作为一个祝福和保护的十字
架，而不是讲述一个故事。事实上，这个十字架的双臂呈羊角形，是对埃塞俄比亚自 17 世纪以来制作的黄铜、木质和铁
质十字架的复制。中央部分用作手柄，下方的正方形象征着亚当的坟墓，十字架就竖立在上面。主十字架和外围的小十
字架以及底部的三个尖端象征着三位一体。

The four figures in the embrasures represent the Evangelists. The two figures below, holding the Cross, are saints. In the
flat motif of their bodies, a small empty space has been left for the portions representing the Cross and their hands. A
comparison with similar pictures offers two interpretations: they are saints invoking the Cross and placing themselves
under its protection, or they are saints wielding the Cross against demons, the height of the Cross itself being a measure of
its importance.

壁龛中的四个人物代表福音书的作者。下面两个手持十字架的人物是圣徒。在他们身体的平面图案中，为代表十字架和
他们双手的部分留出了一小块空白。通过与同类画作的比较，我们可以得出两种解释：他们是圣人在祈求十字架并将自
己置于十字架的保护之下，或者他们是圣人在挥舞十字架对抗恶魔，十字架本身的高度就是其重要性的衡量标准。
PLATE 3 图 3

A Church A 教会
Round churches with thatched roofs, like the one shown here, are common in Ethiopia. As in Plate 2, the Cross plays a
major role, which is why its height is disproportionate to the building it tops. As a prayer says: “It is by mystery that the
Cross is glorified and praised in the guise of the church.” The Cross placed on the peak of the church bears seven ostrich
eggs threaded on rods. According to the most commonly accepted symbolism, these are "the sins one has not confessed to
the priests. On the day of Judgment, shining and oval as they are now, they will say, ‘Here I am.’ " The figures placed on
either side of the Cross are the Angels Michael and Gabriel.

像这里展示的这种茅草屋顶的圆形教堂在埃塞俄比亚很常见。如图 2 所示，十字架起着重要的作用，这就是为什么它的
高度与其顶部的建筑不成比例。正如一篇祷文所说："十字架以教堂的形式得到了荣耀和赞美，这就是它的奥秘所在"。
安放在教堂顶端的十字架上有七只穿在杆子上的鸵鸟蛋。根据最普遍接受的象征意义，这些是 "一个人没有向神父忏悔的
罪孽"。在审判日，它们会像现在一样闪闪发光，椭圆形地说道：'我在这里'。"十字架两侧的人物是天使米迦勒和加百
列。

A text entitled The Rules of the Church says: “There can be nothing done without symbols, and one has made symbols by
doing thus… In the church, the foundation symbolizes the Father, the roof symbolizes the Son, the ornament on the peak
[here a lozenge surmounted by the Cross] symbolizes the Holy Spirit . . .; the roofthatching [shown as arcs here] symbolizes
the faithful.”

一篇题为《教会规则》的文章中写道："没有象征就没有一切，人们通过这样做创造了象征......在教堂中，地基象征圣
父，屋顶象征圣子，山顶上的装饰物（此处为十字架上的菱形）象征圣灵......；屋顶上的屋檐（此处为弧形）象征信
徒"。......；屋檐[此处显示为弧形]象征信徒"。

The six small figures in various costumes placed in the archways of the doors recall the text of the Qälémentos (Apocrypha
of Clement): “He put within her [the Church] six counsellors.”

大门拱门上的六个身着不同服饰的小人让人想起《克莱门特启示录》（Qälémentos）中的文字："他在她（教会）内安插
了六位顾问"。

The three rounds of each archway represent the sculptures on church doors. The six arches of the doors are of the same size,
except for a narrower spacing of the door on the far right. This manner of drawing, suppressing depth and placing all
elements on the vertical plane corresponding to the greatest width, is common in Ethiopia.

每个拱门的三个圆形代表教堂门上的雕塑。门上的六个拱门大小相同，只是最右边的门间距较窄。这种压制纵深，将所
有元素置于与最大宽度相对应的垂直面上的绘制方式在埃塞俄比亚很常见。
PLATE 4 图版 4

Guardian Angel 守护天使

A long double yellow curve crosses through the picture, sketching in the body, the shoulders, and one wing of the angel. The
use of a double line is typical of magical art. The same double line is used in drawing knots. It is never an outline that
isolates a figure from its background; the only figure it delimits is within its own boundaries. In this case, moreover, the
color spreacis beyond the contour of the outline and surrounds the figure.

一条长长的黄色双曲线穿过画面，勾勒出天使的身体、肩膀和一只翅膀。双线的使用是魔法艺术的典型特征。在绘制绳
结时也使用了同样的双线。它从来都不是将人物与背景隔离开来的轮廓线；它所限定的唯一人物就是其自身的边界。此
外，在这种情况下，色彩的范围超出了轮廓线，环绕着人物。

Only one wing has been drawn, for the sake of symmetry, with the sword. Following the procedure already noted apropos of
the church (Plate 3), the projection of the forearm onto the plane of the shoulders does away with perspective. Feet are
suggested by protrusions at the base of the figure, and the cape is sketched in with black lines. The oversized head, although
much less emphasized for angels than for demons, is a characteristic of magical art. Physically, it denotes the closeness of
and spiritually, the importance of the face and eyes-the only significant parts of the body (along with the hand wielding the
sword) and thus, the only ones defined. As is often the case, the mouth has not been drawn in, and the nostrils have been
misplaced.

为了对称起见，只画了剑的一只翅膀。按照前面提到的教堂（图 3）的画法，前臂投影到肩膀的平面上，取消了透视。
人物底部的突出部分暗示了脚，披风则用黑色线条勾勒。超大的头部是魔法艺术的一个特点，虽然天使的头部比恶魔的
要小得多。从形体上看，它表示脸部和眼睛的接近，从精神上看，它表示脸部和眼睛的重要性--这是身体上唯一重要的部
位（连同挥剑的手），因此也是唯一确定的部位。通常情况下，嘴巴没有画进去，鼻孔的位置也不对。

A Salutation to the Angel Fanuel is inscribed on the scroll.

卷轴上刻有向天使法努埃尔致敬的诗句。

PLATE 5 图版 5

A Demon (?) 恶魔（？）

This image is the result of successive modifications made by many generations of copyists working on the models at their
disposal. It is obviously a mosaic embodying partially contradictory meanings. However, this represents no “error” on the
part of the copyists, since their purpose was not to reproduce the image of such-and-such a person (the didactic religious
aim) but to copy an assembly of effective lines (the curative aim) which can occasionally be modified to improve their
effectiveness.

这幅画是几代临摹者根据他们所掌握的模型不断修改的结果。很明显，它是一幅马赛克拼图，包含了部分相互矛盾的含
义。然而，这并不代表临摹者的 "错误"，因为他们的目的不是复制这样或那样的人物形象（宗教说教目的），而是临摹
一组有效的线条（治疗目的），这些线条可以偶尔进行修改，以提高其效果。

Hence, if we want to “read” a painting like this - which has essentially been made to be “looked at”-we must combine a
number of partial readings, a fact borne out by the multiplicity of inscriptions that can accompany the same image, by the
almost free association of images and texts, and by the variety of explanations given.by contemporary dabtaras, and
sometimes even by the same dabtara.

因此，如果我们想 "阅读 "这样一幅画--它基本上是为了被 "观看 "而制作的--我们就必须将许多片面的阅读结合起来，这

一点可以从同一图像可能附带的多种题词、图像与文本之间几乎自由的关联以及当代达布塔拉（有时甚至是同一达布塔
拉）给出的各种解释中得到证实。

Here the image of a demon with outstretched arms seems superimposed upon that of a person praying, as painted in Tigray
in the fifteenth century. A comparison with Plate 15 enables us to recognize snakes in the arcs surrounding the eyes and
face. The Cross drawn on the forehead supports the demonological interpretation and is in accord with a customary prayer:
“I have set the seal of the Father, the Son, and the Holy Spirit. I have cursed all you evil demons and impure spirits.”

在这里，伸展双臂的恶魔形象似乎与 15 世纪提格雷地区绘制的祈祷者形象叠加在一起。与图 15 相比，我们可以从眼睛

和面部周围的弧线中认出蛇。画在额头上的十字架支持了恶魔学的解释，也符合人们的祈祷习惯："我已将圣父、圣子和
圣灵的印记加在你们身上。我诅咒你们所有邪恶的恶魔和不洁的灵魂"。

For a number of dabtaras, a drawing like this represents an angel or Saint Susenyos. In fact, it is far less frightening than
the image on Plate 15. The eyes look to the side, which is how angels are shown; the orbits of the eyes are narrow; the robe
is as large as the face. Instead of using the classic contrasts of pure colors, the painter has softened his tones: the vegetable
blue is modulated from blue gray to blue green; violet has been made from a wash of blue over a red ground, and green
from a wash of blue over yellow. As with the angel, blue here surrounds the body (except for the head) with an aura.

对许多达布塔拉人来说，这样的图画代表着天使或圣苏森尼奥斯。事实上，这幅画远没有图版 15 上的形象那么可怕。这
幅画的眼睛向侧面看，这正是天使的形象；眼眶很窄；袍子和脸一样大。画家没有使用经典的纯色对比，而是采用了柔
和的色调：植物蓝从蓝灰色调和成蓝绿色；紫色是在红底上用蓝色水洗而成，绿色是在黄色上用蓝色水洗而成。与天使
一样，这里的蓝色也为身体（除头部外）笼罩了一层光环。

The curious drawing of the mouth should be noted. A comparison with Plate 24 indicates its source: the drawing of the
moustache has here become the mouth itself. May one hypothesize that such a transformation is based upon a sexual
interpretation?

值得注意的是嘴部的奇特画法。与图版 24 的对比显示了其来源：小胡子在这里变成了嘴巴本身。我们是否可以假设，这
种转变是基于对性的理解？
PLATE 6 图版 6

The Nine Saints 九圣

The texts on this scroll-the Net of Solomon; a Salutation to the Angel Fanuel; some Prayers for Undoing Spells; a Prayer for
Binding Demons, the Hand of Man (bewitchment), and Sorcerers with secret names; a Prayer Against Colic and Migraine;
and a Prayer Against Pains in the Chest - do not directly justify the image.

卷轴上的文字--《所罗门之网》、《向天使范纽尔致敬》、《一些解除咒语的祷文》、《束缚恶魔、人之手（蛊惑）和巫
师秘名的祷文》、《对抗绞痛和偏头痛的祷文》以及《对抗胸口疼痛的祷文》--并不能直接证明图像的正确性。

When a dabtara looks for the meaning of a picture, he reads the text and then counts the number of figures in the image.
Nine figures holding a Cross could only be the “Nine Saints of Rome” (i.e., Byzantium): Zä Mikael Arägawi, Päntäléwon,
Gärima, Aftsé, Guba, Aléf, Yem’ata, Liqanos, and Tsehma. They came from Syria around the year 500 A.D., fleeing the
persecutions against Monophysitism that followed the Council of Chalcedonia (451 A.D.) They evangelized the Tigray
region and established monasticism there. They are still very popular in that province, where a number of supernatural acts
have been attributed to them. At their intercession, for instance, the serpent Arwé, who ruled over Ethiopia and exacted
heavy tribute from its inhabitants, including the offering of a young girl, was struck with lightning by the Archangels
Michael and Gabriel.

当达布塔拉人寻找一幅图画的含义时，他会先阅读文字，然后计算图画中的数字。九个手持十字架的人物只能是 "罗马九
圣"（即拜占庭）：Zä Mikael Arägawi、Päntäléwon、Gärima、Aftsé、Guba、Aléf、Yem'ata、Liqanos 和 Tsehma。公
元 500 年左右，他们为了躲避卡尔西多尼亚会议（公元 451 年）后对基督一性的迫害，从叙利亚来到这里。他们在该省
仍然很受欢迎，该省的许多超自然行为都归功于他们。例如，大天使米迦勒和加百列用雷电击中了统治埃塞俄比亚并向
当地居民索取大量贡品（包括供奉一名少女）的大蛇阿尔韦。

The painter has given variety to the colors of their clothing and haloes, but above all he has given play to their eyes. The
saints in the top row look to the right, those in the middle row to the left; in the bottom row, the two saints on the sides look
toward the one in the middle, whose eyes are crossed. This play is not entirely gratuitous. It signifies that the saints protect
the client in all directions.

画家赋予了他们的衣服和光环以不同的颜色，但最重要的是，他赋予了他们的眼睛以不同的色彩。上排的圣人看向右
边，中排的圣人看向左边；在下排，两边的两位圣人看向中间的圣人，而中间的圣人的眼睛是交叉的。这种表演并非完
全无缘无故。它表示圣人从各个方向保护客户。

Five blue-faced demons appear at the upper left of the picture.

画面左上方出现了五个蓝脸恶魔。
PLATE 7 图 7

Demon (?) 恶魔（？）

The text accompanying this picture is the passage from the Gospel of Matthew (8: 28-34) which tells how demons were
transferred from two possessed men to a herd of swine which then threw itself into the sea. The transfer of an illness (due to
a zar or welladj spirit) from a man to an animal, is a current practice among dabtaras and the “priests” of the zar cults. The
corresponding passages from the Gospels of Mark and Luke call the demons “Legion” (Légéwon and his soldiers, to the
Ethiopians): “Légéwon who steals the hearts of men, darkens their eyes, grinds their bones, and twists their guts,” as a
classic prayer says.

这幅画的配文是《马太福音》（8: 28-34）中的一段话，其中讲述了恶魔如何从两个被附身的人身上转移到一群猪身
上，然后猪又将自己投入大海。将人身上的疾病（由于扎尔或 Welladj 灵魂）转移到动物身上，是目前达布塔拉人和扎
尔邪教 "祭司 "的一种做法。马可福音》和《路加福音》中的相应段落称恶魔为 "军团"（埃塞俄比亚人称 Légéwon 及其
士兵）：经典祷文中写道："莱热翁偷走了人的心，遮住了人的眼睛，磨碎了人的骨头，扭曲了人的内脏"。

Is this a picture of Légéwon’s soldiers, or of some two-headed demon like the one mentioned in the miracles of the child
Cyriac, or is it the winged demon with four eyes, two for guiding himself and two for striking his victims? These are all
possible interpretations and do not exhaust the range of possible meanings. In Ethiopian demonology, following the
Hexameron of Epiphanius of Cyprus as it appears in the Tentä Haymanot and the Miracles of Jesus, when Satnaél and his
followers were thrown down from Heaven, one third of them remained flying in the firmament, a second third fell to earth,
and the final third were locked up in Tartarus. The first third is often associated with the neutral angels who did not take
sides in the battle between Satnaél and Michael; they can be identified with the intermediary beings of ancient cosmology.
The angels of Islamic magic (Mufti, Nahu, etc.) have also been connected with them. Like angels, these demons of the air
radiate light and are shown as having wings. In contrast to the wretched earthly demons, who are burdened with flesh, who
are slow, and always liable to get drunk at some filthy puddle, these demons are the swift and implacable executors of the
dabtaras’ orders. The purpose of a picture like this may have been protection against such spirits, according to present-day
dabtaras. The drawing of the mouth can be compared with that in Plate 24. It is derived from sixteenth-century
illuminations. As in the first two scrolls presented, the figure’s head is surrounded by a blue ring.

这是一幅莱热翁士兵的画像，还是一幅双头恶魔的画像，就像在儿童 Cyriac 的神迹中提到的那样，抑或是一幅长着四只

眼睛（两只用于指引方向，两只用于攻击受害者）的有翼恶魔的画像？这些都是可能的解释，并没有穷尽所有可能的含
义。在埃塞俄比亚的恶魔学中，根据塞浦路斯的埃皮法尼乌斯的《六部曲》（见 Tentä Haymanot 和《耶稣的神
迹》），当撒特纳尔和他的追随者被从天上扔下来时，其中三分之一仍在苍穹中飞翔，三分之一坠落在地上，最后三分
之一被关在 "地狱之渊"。前三分之一通常与中立天使有关，他们在萨特奈尔和米迦勒的战斗中没有站队；他们可以与古
代宇宙学中的中介生命相提并论。伊斯兰魔法中的天使（穆夫提、纳胡等）也与他们有关。与天使一样，这些空中恶魔
也散发着光芒，并长有翅膀。与肉体累赘、行动迟缓、总容易醉倒在肮脏的水坑里的可怜的尘世恶魔相比，这些恶魔是
达布塔拉命令迅速而无情的执行者。按照现在的达布塔拉人的说法，画这样一幅画的目的可能是为了保护自己不受这些
恶魔的伤害。嘴巴的画法可以与图版 24 中的画法进行比较。它源自 16 世纪的插图。与前两幅画卷一样，人物的头部被
一个蓝色环包围。
PLATE 8 图 8

Guardian Angel 守护天使

The inscription, mälak 'uqabé, above the picture, means “guardian angel.” He stands at each person’s right side. Satan and
his minions try to profit from any slight separation of this angel from the person’s side (possibly upon orders from God in
His wrath against sinners), and attack the man from the left. The angel is called upon to maintain a constant vigil: “Do not
separate thyself from me by night or day.”

图片上方的铭文 mälak 'uqabé 意为 "守护天使"。他站在每个人的右侧。撒旦和他的爪牙试图从天使与人的任何微小的分

离中获利（可能是奉上帝的命令，在对罪人的愤怒中），并从左边攻击人。天使被要求时刻保持警惕："无论昼夜，不要
与我分离"。

It should be noted that in daily speech the Amharic word weqabé (“guardian”), from the Geez 'uqabé, refers essentially to an
individual’s protective zar-spirit. A baläuqabä (“one who has a guardian”) is a person who maintains a zar cult, and goes
into a trance during certain ceremonies, particularly those associated with Saint Michael in November, January, and June.
On these occasions, the possessed one sacrifices a sheep to his zar, although some make the sacrifice directly to Saint
Michael to thank him for having protected them during the past year.

需要注意的是，在日常用语中，阿姆哈拉语 weqabé（"守护者"）一词来自 Geez 'uqabé，主要指个人的保护神。

baläuqabä（"有守护者的人"）是指信奉扎尔崇拜的人，在某些仪式上，尤其是在 11 月、1 月和 6 月与圣米迦勒有关的仪
式上会精神恍惚。在这些仪式上，入魔者会向他的 "守护神 "献祭一只羊，但也有一些人直接向圣米迦勒献祭，以感谢他
在过去一年中对他们的保护。

Scrolls are never used against a weqabé, since he is the tutelary and protective spirit of the family. On the contrary, the
weqabe may order a scroll to be prepared, and according to one dabtara, they are very fond of talismans.

卷轴从来不会被用来对付 weqabé，因为他是家庭的守护神和保护神。相反，weqabe 可能会下令准备卷轴，据一位

dabtara 说，他们非常喜欢护身符。

The choice of enlarging the size of the wings has forced the dabtara to omit the angel’s sword. Comparison with other scrolls
by the same maker shows that he liked to vary his forms. The head in this talisman is small; in another it is huge. He has
also shown the feet, which is rare in these scrolls.

由于选择扩大翅膀的尺寸，达布塔拉不得不省略天使之剑。与同一制作者的其他卷轴相比，可以看出他喜欢变化造型。
这个护身符中的头很小，而在另一个中则很大。他还展示了脚部，这在这些卷轴中非常罕见。

Aging has contributed to the pleasing harmony of the colors. Having no red pigment, the painter used a thick brown which
has flaked off to reveal a light ground. The vegetable yellow, which tends toward ochre, has absorbed the brown in places.
The olive green has also flaked off, allowing the yellow of the parchment to show through. The two ornamental bands both
enclose and harmonize with the picture.

老化使色彩更加和谐悦目。由于没有红色颜料，画家使用了一种厚厚的棕色，这种棕色已经剥落，露出了浅色的地面。
倾向于赭石的植物黄色在某些地方吸收了棕色。橄榄绿也已剥落，使羊皮纸的黄色显露出来。两条装饰带既包围了画
面，又与画面相协调。

PLATE 9 图 9

Eight-Pointed Star 八角星

The central design, a face within an eight-pointed star, is the most common and the most characteristic motif in Ethiopian
scrolls. It has also occasioned the widest variety of interpretations, as we learn from reading the few rare inscriptions and
from questioning dabtaras who make scrolls.

中心图案是一个八角星中的人脸，这是埃塞俄比亚卷轴中最常见、最具特色的图案。通过阅读少数罕见的铭文和询问制
作卷轴的达布塔拉人，我们了解到这一图案也引起了最广泛的解释。

The eight-pointed star was a universal motif in the ancient world. It is found particularly in Islamic culture, as an ornament,
or as a talisman, and it is said to have been the engraving or diamond in Solomon’s ring. In Ethiopia, where five- and six-
pointed stars are rare, it is sometimes called “Solomon’s seal.” In Islamic talismans, the central space is generally left blank
or decorated with a few ringed letters. The magician sometimes writes the name of the client or of the angel in the prayer
there, especially if it is a cipher-talisman. However, in Ethiopian works, a face is drawn in the center.

八角星是古代世界的普遍图案。在伊斯兰文化中，八角星作为装饰品或护身符尤为常见，据说它是所罗门戒指上的雕刻
或钻石。在埃塞俄比亚，五角星和六角星非常罕见，有时也被称为 "所罗门印章"。在伊斯兰护身符中，中央空间一般留
白或装饰几个环形字母。魔术师有时会在这里写上客户的名字或祈祷天使的名字，尤其是在密码符箓的情况下。不过，
在埃塞俄比亚的作品中，中间会画上一张脸。

The face is known as gätsä säb’e (“face of a person”). It is the face connected with the prayer that goes with the talisman,
and its presence is necessary for the effectiveness of the scroll. Thus defined, the face has a sort of “local” identity. A generic
meaning can also be attributed to it, interpretable with help of the accompanying prayer: the face of God, an angel, a
demon, a man, and so on.

这张脸被称为 gätsä säb'e（"人脸"）。它是与护身符上的祈祷词相关联的面孔，它的存在是卷轴发挥效力的必要条件。

因此，"脸 "具有某种 "地方 "特征。也可以赋予它一般意义，借助所附的祷文进行解释：神的面孔、天使的面孔、恶魔的
面孔、人的面孔等等。

The eight points indicate the four directions of the talisman’s protective power: “Whoever comes from the East, etc. . . .” In
relation to the face in the center, they are the luminous radiance or the wings that enable it to move in all directions. One
dabtara has said that each of the eight wings is an angel serving the central face. He is referring implicitly to a passage from
the Apocrypha of Clement (or Qälémentos): “The family of angels is numerous. They have no single aspect. Indeed, there
are some who have many eyes; some who are only eyes; some who are all a burst of light brighter than the light of the sun;
some who have faces like a man’s face; some who have two wings; some who have one wing; some who are two wings; some
who are all one wing.” Therefore, in a picture like this, eyes, face, and wings can all be angels. Finally, such pictures are
often interpreted as signifying the Cross of Christ with the Savior’s face inscribed in the center.

这八个点表示护身符保护力量的四个方向："无论谁从东方来，等等......"。相对于中心的面孔，它们是使其能够向四面八
方移动的发光体或翅膀。一位达布塔拉说，八个翅膀中的每一个都是为中心面孔服务的天使。他暗指的是《克莱门特启
示录》（或 Qälémentos）中的一段话："天使家族众多。他们没有单一的面孔。的确，有的长着许多眼睛；有的只有眼
睛；有的浑身发出比太阳光还耀眼的光芒；有的长着人脸；有的长着两只翅膀；有的长着一只翅膀；有的长着两只翅
膀；有的长着一只翅膀"。因此，在这样一幅图画中，眼睛、脸和翅膀都可以是天使。最后，这类图画通常被解释为表示
基督的十字架，中间刻着救世主的脸。

PLATE 10 图 10

Daniel (?) 丹尼尔（？）

This and the following picture are from a large eighteenth-century scroll collected in the 1830 s. In its present state, the
scroll contains eight large abstract pictures in red and black copied from a book entitled Prayers for Undoing Spells
(mäftehé seray), which dates, either like Figure I, from the middle of the eighteenth century or, like Figure X , from
somewhat later.

这幅画和下一幅画出自 18 世纪 30 年代收集的一幅 18 世纪大型画卷。这幅画卷的现存状态是从一本名为《解咒祷文》

（mäftehé seray）的书中抄录的八幅大型红黑抽象画。

The character surmounted by two lions is probably Daniel, although ordinarily the lions are placed beside him in religious
iconography. The ring motif in the embroidery of the robe is identical with the drawing of the mouth. The outline is
surrounded by a triple garment or rather a triple wall of grace, an image of divine protection. The “characters” or ringed
signs placed on both sides of the figure are generally interpreted as images of Jacob’s ladder or Aaron’s rod.

被两只狮子簇拥着的人物可能是但以理，尽管在宗教圣像中狮子通常被放在但以理旁边。长袍刺绣中的环形图案与嘴部
的图画相同。轮廓周围有三层衣服，或者说是三层恩典之墙，这是神圣保护的形象。人物两侧的 "字符 "或环形标志一般
被解释为雅各布的梯子或亚伦的棍子。

The forms are distinguished by economy of means and repetition: the wavy lines of the lions’ bodies and of the garment; the
parallel straight lines of the decorations on the garment and of the noses and necks of the lions; the stippling of motifs
and lateral rectangles; ringed signs of the pseudo-letters, squares, “ladders,” and lion’s feet; the large, repeated curve
enclosing the figure; triangles in the embroidery and the outline of the garment. The figures are drawn in black. The
outlines and the lines that fill in the figures are doubled with red lines. But even where the red line is thickened or almost
becomes a wash, as in the faces, it never touches the black line which is separated from it by a white space. The presence of
white in all the figures, the black and red never forming a continuous surface, contributes greatly to the graphic quality of
the composition.

这些形式的特点是省力和重复：狮子身体和衣服上的波浪线；衣服上的装饰以及狮子鼻子和脖子上的平行直线； 图案
和横向矩形的点画；假字母、正方形、"梯子 "和狮子脚的环形标志；人物周围重复出现的大曲线；刺绣和衣服轮廓中的
三角形。人物以黑色绘制。轮廓和填充人物的线条用红线加倍。但是，即使在红线变粗或几乎变成水洗线的地方，如脸
部，红线也从未与黑线相碰，黑线与红线之间用白色空间隔开。所有人物中都有白色，黑色和红色从未形成一个连续的
表面，这极大地增强了构图的画面感。

Black stands for malediction, red for flames, and white for light. Those who use only these colors say that blue, green, and
yellow washes are merely intended to please clients and are neither necessary nor effective against demons. Black and red
are used for the writing of the texts, red for the important formulae. In this scroll, all the texts are written in red, but the
client’s name has been added in black.

黑色代表诅咒，红色代表火焰，白色代表光明。那些只使用这些颜色的人说，蓝色、绿色和黄色只是为了取悦客户，既
没有必要也不能有效地对付恶魔。黑色和红色用于书写文字，红色用于重要的公式。在这幅卷轴中，所有文字都用红色
书写，但客户的名字则用黑色书写。
PLATE 11 图 11

Solomon 所罗门
Comparison with other, similar talismans enables us to identify this figure as Solomon seated on his throne. Above him four
Crosses have been drawn, assuring protection from the four cardinal points.

通过与其他类似护身符的比较，我们可以确定这个人物是坐在王座上的所罗门。在他的上方画着四个十字架，确保受到
四面八方的保护。

A legend related in the Mätshafä Kidan and the Hemamatä Mäsqäl says: “When his son lay sick, Saul, upon the advice of his
wise-men, captured the young offspring of the giant bird neser [the rokh of the Thousand and One Nights] and immured it.
The neser took the branch of a fig tree from Paradise and threw it against the wall to tear it down and free its child. The
branch was found to contain a miraculous medicine, and it was planted on the bank of the Jordan. Later, Solomon cut it
down to use in building his temple, but it could not serve either for a beam or for a post. So it was thrown aside. The Queen
of Sheba, whose feet had been turned into ass’s hoofs, was cured of her infirmity when she accidentally tripped over it on
her way to visit Solomon. The trunk was later used to make Christ’s cross.” Thus the Tree of Life and the Cross are of the
same wood.

马特沙法-基丹》和《赫马马特-马斯卡尔》中有这样一个传说："扫罗的儿子生病时，他听从智者的建议，捕捉了巨鸟
neser（《一千零一夜》中的罗克）的后代，并将其固定起来。巨鸟从天堂叼来一棵无花果树的树枝，把它扔到墙上，想
把墙推倒，把它的孩子放出来。结果发现树枝上有一种神奇的药，于是就把它种在了约旦河岸。后来，所罗门把它砍下
来建造圣殿，但它既不能做梁，也不能做柱。于是，它被扔到了一边。示巴女王的脚已经变成了驴蹄，她在去拜访所罗
门的路上不小心被树干绊倒，她的病就好了。树干后来被用来制作基督的十字架"。因此，生命之树和十字架是同一种木
材。

The birds have a number of meanings. They are the birds in the Tree of Life, the birds who fed Adam when he was driven
out of Paradise, who sheltered Solomon in their shade. They are the “birds of the Cross,” who brought the good news of the
redemption. They are angels, but they are also Satan’s crows. Do the three double foils symbolize the hidden Trinity?

这些鸟有很多含义。它们是生命树上的鸟，是亚当被赶出乐园时喂养他的鸟，是在树荫下庇护所罗门的鸟。它们是 "十字
架上的鸟"，带来了救赎的好消息。它们是天使，但也是撒旦的乌鸦。三只双翼象征着隐秘的三位一体吗？

Here we see the same economy of pictorial means as in the preceding talisman. Black triangles are used for the Crosses, the
jewels in the crown and on the robes of Solomon, and the lower squares. Ringed signs decorate the Crosses, the jewels, and
parts of the lower squares. The letters and are used at once as elements of the Names of God (qätänawi), and as
images (Crosses, jewels). Solomon, like Daniel, is a symbol of Christ - hence the cruciform symbol within the figure.

在这里，我们可以看到与前面的护身符相同的经济的图像手段。黑色三角形用于十字架、所罗门王冠和长袍上的珠宝以
及下方的方块。环形标志用于装饰十字架、珠宝和下方的部分方格。字母 和 同时被用作神名（qätänawi）的元素
和图像（十字架、珠宝）。所罗门和但以理一样，都是基督的象征--因此图中有十字架形状的符号。
PLATE 12 图 12

Jesus Christ 耶稣基督

This picture is the result of a superimposing of two images: one of the Transfiguration and the other of Jesus leading the
heavenly host. According to the story of the Transfiguration, Jesus appeared to the apostles Peter, James, and John on
Mount Tabor standing between Moses and Elijah. Illuminations of the fourteenth and fifteenth centuries, such as the one in
the Gospel made for Princess Zir Garéla which is now in the Pierpont Morgan Library in New York, show Christ with a long-
staved Cross in each hand, standing between Elijah and Moses holding the tables of the Law. Over them is a triple archway.
The smaller side-arches are topped by ornamental motifs of X-shaped knots.

这幅画是两幅图像叠加的结果：一幅是耶稣变容的图像，另一幅是耶稣带领天兵的图像。根据耶稣变容的故事，耶稣在
泰伯山上向使徒彼得、雅各和约翰显现，站在摩西和以利亚中间。14 世纪和 15 世纪的插图，如《福音书》中为齐尔-加
雷拉公主制作的插图（现藏于纽约皮尔庞特-摩根图书馆），显示基督双手各持一个长柄十字架，站在以利亚和摩西中
间，摩西手持律法表。他们的上方是三重拱门。较小的侧拱顶端是 X 形结的装饰图案。

We can see the same motifs here: Christ, Elijah, Moses, with the knotwork reduced to X’s at the upper right and left. If it
were necessary, the globes and the rays of light around the face would identify the central figure as Christ.

我们可以在这里看到相同的图案：基督、以利亚、摩西，右上方和左上方的绳结被简化为 X。如果有必要的话，脸部周
围的圆球和光线可以将中心人物确定为基督。

However, a protective text has reinterpreted the image: “With this writing, through the power of Jesus Christ, Säbáot, who
has Michael on his right and Gabriel on his left, you will send the angels with their swords and Christ between them with his
sword; and they will purify the face of the earth, the four faces of the sky, the four faces of the plants, the four faces of the
water, and the faces of all things under the earth.”

然而，一份保护性文本重新诠释了这一形象："有了这幅字，通过耶稣基督的力量，以米迦勒为右翼、加百列为左翼的萨
巴奥特，你将派遣天使们手持宝剑，基督在他们中间手持宝剑；他们将净化大地的面孔、天空的四个面孔、植物的四个
面孔、水的四个面孔以及地底下万物的面孔"。

Thus, Jesus is shown armed with a sword, his face radiant, seated on a throne whose uprights are topped with globes. The
four faces represent the cardinal points of the earth.

因此，耶稣手持宝剑，容光焕发，端坐在宝座上，宝座的顶端是一个圆球。四个面代表了地球的中心点。

The copyist has treated the two side-figures rather whimsically: hands detached from the forearms in the right-hand figure,
feet curved back over the drawing of the robe, the sleeves drawn in a circle, which seems to cut the body in half.

临摹者对这两幅侧面图的处理颇具奇思妙想：右侧人物的手与前臂分离，双脚向后弯曲，覆盖在长袍上，袖子画成一个
圆圈，似乎将身体切成两半。

Yy XYX
PLATE 13 图 13

Protecting Figure 保护人物

This painting comes from a fragmentary Tigrean scroll that is related in style to the scroll shown on Plates 4,5 , and 6.

这幅画出自一幅残缺不全的提格雷卷轴，其风格与图版 4、5 和 6 上的卷轴相似。

From the point of view of iconography, the image may be compared with pictures from scrolls that portray a specific
character, most often Christ, whose outstretched arm drives demons away, gives a saint power to defeat them, or blesses the
person for whom the scroll is made.

从圣像学的角度来看，这幅画可以与卷轴上的画作相比较，卷轴上的画作描绘了一个特定的人物，最常见的是基督，他
伸出手臂驱赶恶魔，给予圣人战胜恶魔的力量，或祝福卷轴所要表达的人。

Here we have a measure of the great difference between the aesthetics of the scrolls and of academic religious art: the
enormous eyes and head; the rings around the eyes; the same color, blue green, used for body and background. (Note that
the blue rings of the eyes join the background through a small space left between the two large arcs of the facial outline.)
The right shoulder is at the same time a shield with four eyes drawn on it (a rosette suggesting the four directions). We have
seen (Plate 9), that an eye can sometimes stand for a whole figure, symbolizing its protective presence as the organ of
instant action. The eye is also a symbol of divine light driving away the darkness of demons and disease. Eyes are often
drawn on various objects - shields, swords, pottery, etc. According to certain dabtaras, they can no longer be considered
eyes; that is, the drawing of an eye has no representational aim, it gives to the object upon which it is drawn (shield, sword,
etc.) the protective function of a talisman. It is in a sense not an actual or symbolic eye, but a “modal” eye. This is an
important distinction for understanding the status of the eye in talismans. The eye is less a conventional theme than a mode
of portrayal characteristic of the relation existing between the talisman and the possessed person looking at it.

在这里，我们可以看到卷轴美学与学术宗教艺术之间的巨大差异：巨大的眼睛和头部；眼睛周围的圆环；身体和背景使
用相同的颜色--蓝绿色。(请注意，眼睛的蓝环通过面部轮廓的两个大弧线之间留出的一小块空间与背景相连）。右肩同
时也是一个盾牌，上面画着四只眼睛（玫瑰花纹暗示着四个方向）。我们已经看到（图 9），一只眼睛有时可以代表整
个人物，象征着它作为即时行动器官的保护性存在。眼睛也象征着神圣的光芒，驱走恶魔和疾病的黑暗。眼睛经常被画
在盾牌、剑、陶器等各种物体上。根据某些达布塔拉的说法，它们不能再被视为眼睛；也就是说，画眼睛的目的不是为
了表现，而是赋予被画上眼睛的物体（盾牌、剑等）以护身符的保护功能。从某种意义上说，这不是一只真实的或象征
性的眼睛，而是一只 "模态 "的眼睛。这是理解眼睛在护身符中地位的重要区别。眼睛与其说是一个传统主题，不如说是
护身符与看着它的被附身者之间关系的一种描绘模式。

The drawing of the mouth as a zigzag line between nose and chin is fairly common in “Books of Protection.” The green in
this picture was made from a wash of blue over yellow.

在 "保护之书 "中，鼻子和下巴之间的人字形嘴部画法相当常见。这幅画中的绿色是在黄色上用蓝色水洗而成的。

PLATE 14 图 14
A Demon (?) 恶魔（？）
This talisman and the next four come from Tigrean scrolls dating back to the middle or second half of the nineteenth
century. To certain scrollmakers, this type of image unquestionably represents the evil spirit in the legend of Susenyos (the
Coptic Sicinnius), of which two versions exist. The one that usually appears on scrolls of this type is the text of the
Synaxarium (24 Miyazya, i.e., fourth of May): “The sister gave birth to a strange-natured son. Before him, she had given
birth to a daughter, then killed her and drank her blood. Satan dwelled in her. Through enchantment, he appeared to her as
a bird and a dragon [and a demon].” In the other version, the evil spirit depicted is specifically identified as the Saint’s
sister, Werzelya (Plate 34). But such satanic interpretations are by no means absolute, since some dabtaras have written on
similar pictures the words “Guardian Angel,” or “Saint Michael.”

这个护身符和接下来的四个护身符出自 19 世纪中叶或下半叶的提格雷卷轴。对某些卷轴制作者来说，这类图像无疑代表
了苏森尤斯（科普特西辛尼乌斯）传说中的恶灵，该传说有两个版本。通常出现在这类卷轴上的是 Synaxarium（24
Miyazya，即五月四日）的文本："妹妹生了一个性情古怪的儿子。在他之前，她生了一个女儿，然后杀了她，喝了她的
血。撒旦住在她体内。通过魔法，撒旦以鸟、龙（和恶魔）的形象出现在她面前"。在另一个版本中，所描绘的恶灵被明
确认定为圣人的妹妹维尔泽利亚（图版 34）。但这种对撒旦的解释绝非绝对，因为有些达布塔拉人在类似的图画上写上
了 "守护天使 "或 "圣米迦勒 "的字样。

The large eyes, made brilliant by an abstract contrast between black and white, are encircled and set apart, as is the
enormous face, by coils of snakes. The result is a reversal of perception. One sees the eyes, the central element, first, then
the face, and finally, the bodywhich corresponds to the way a person is seen when very close.

黑与白的抽象对比使这双大眼睛炯炯有神，与巨大的脸庞一样，这双眼睛也被盘绕的蛇环绕并隔开。结果，人们的感知
发生了逆转。人们首先看到的是作为中心元素的眼睛，然后是脸部，最后才是身体。

Movement is created by the arcs that spread from a midpoint at the base of the figure. The hands are, in a sense, thrust out
from them. The drawing of the neck is equally repetitive. This movement is accentuated by the slant of the figure and the
displacements due to the pointer’s gesture. It reaches to the coil of the snakes as well, through the pattern of small black
and white checks.

从人物底部的中点延伸开来的弧线产生了运动感。从某种意义上说，双手就是从这些弧线中伸出来的。颈部的绘制同样
具有重复性。人物的倾斜和指针手势的位移使这种运动更加突出。通过黑白小格子的图案，它还延伸到了蛇的线圈。

Movement, proportions, symmetry, and the abolition of space bring the demon into absolute proximity, and make it
impossible to sort out the forms and put them in perspective. Dabtaras and users consider such paintings frightening.
Seeing one, the sick person cries out, and the demon runs away.

运动、比例、对称和空间的取消将恶魔带入绝对的近距离，使人无法理清形式并将其置于视角中。达布塔拉人和使用者
认为这种画很可怕。看到这样的画，病人会大喊大叫，而恶魔则会逃跑。

A small Cross on the forehead exorcises the demon. The mouth has been left out, meaning that his power is at an end. The
triple parallel lines and the dots on the face represent a lion’s whiskers, a leopard’s spots, and so on. All such details are
metonymic signs of the many guises in which demons attack people.

额头上的小十字架可以驱除恶魔。嘴被省略了，这意味着他的力量已经结束。脸上的三条平行线和点代表狮子的胡须、
豹子的斑点等等。所有这些细节都是隐喻，象征着恶魔攻击人类的多种伪装。
PLATE 15 图 15

Two Angels 两个天使

A passage from the Apocrypha of Clement says: “Angels are sent out in connection with my mysteries. They guard those
who are baptized in the name of the Father, the Son, and the Holy Spirit, and all who believe in me. I send them two by two,
one to stand on the right and one on the left of my believers. They protect them from all evil.”

《克莱门特使徒书》中的一段话说："天使是为我的奥秘而被派出的。他们守护那些奉圣父、圣子、圣灵之名受洗的人，
以及所有信我的人。我派出两个两个的天使，一个站在我信徒的右边，一个站在我信徒的左边。他们保护他们远离一切
邪恶。

A prayer meant to protect pregnant women reads as follows: “The blood had flowed for two years, and he sent the angel of
mercy and the angel of forgiveness to protect her in the days of her pregnancy. Whether it be a boy or a girl, make the blood
coagulate!”

一段旨在保护孕妇的祷文如下"血已经流了两年，他派仁慈天使和宽恕天使在她怀孕的日子里保护她。无论生男生女，请
让血液凝固！"

Although these angels could have many identities, they are most probably Michael and Gabriel, the angels in whose name,
during rites of exorcism, demons must swear to leave their victim and never return. Moreover, an identical painting from a
scroll of the same style carries the inscription: “Saint Michael and Saint Gabriel.” They are often brought together in
salutations and invocations.

尽管这些天使可能有很多身份，但他们很可能是米迦勒和加百列，在驱魔仪式上，恶魔必须以他们的名义发誓离开受害
者，永不再回来。此外，同样风格的卷轴上还有一幅相同的画 上面刻着 "圣米迦勒和圣加百列"圣米迦勒和圣加百列"在致
敬和祈福仪式中，他们经常一起出现。

There is a legend current in certain circles according to which each man is accompanied throughout his life by two angels:
an angel of light who will report his good deeds to Michael at his death, and an angel of darkness who will report his
misdeeds to Bernael, the archangel of Hell.

在某些圈子里流传着这样一个传说：每个人的一生都有两个天使陪伴：一个是光明天使，他会在他死后向米迦勒报告他
的善行；另一个是黑暗天使，他会向地狱天使长伯尼尔报告他的恶行。

A comparison of this image with the preceding one shows that angels’ heads are smaller than demons’ heads in relation to
the sizes of the bodies. Whereas pictures of demons tend toward frontal symmetry, pictures of angels are assymetrical: face
in three-quarter profile, eyes looking to the side, the right hand holding the sword and the left the scabbard. The same arc
pattern is used for body and wings; the painter has chosen not to fill the whole space with red and blue arcs, in order to
create movement. The displacement of the left shoulder and arm is due to the process of projection discussed in Plate 3,
and to the painter’s wish to show both hands.

将这幅图像与前一幅图像进行比较后发现，相对于身体的大小，天使的头比恶魔的头小。恶魔的画像倾向于正面对称，
而天使的画像则是不对称的：脸部四分之三侧面，眼睛看向侧面，右手持剑，左手持剑鞘。身体和翅膀使用了相同的弧
线图案；画家选择不用红色和蓝色弧线填满整个空间，以营造动感。左肩和左臂的移位是由于图 3 中讨论的投影过程，
也是由于画家希望表现出双手。
PLATE 16 图 16

Saint George 圣乔治

This knight is the second image in a scroll that begins with a demon whose face is surrounded by snakes, and who is flanked
by two angels. This arrangement is in accord with the prayer: “Let the evil spirits, spells, and enchanters be cut by the sword
of Michael, split by the sword of Gabriel, and pierced by the lance of George.”

这个骑士是卷轴中的第二个图像，卷轴的开头是一个面部被蛇环绕的恶魔，他的两侧有两个天使。这种安排与祈祷文一
致："让邪灵、咒语和使魔被米迦勒的剑斩断，被加百列的剑劈开，被乔治的长矛刺穿"。

By chance, we know the model this painter has used - a painting in the same style, which he has modified in significant
ways. In the model, the leg is drawn so that it stands out from the saddle trappings, but here the two elements form a single
plane and the back line of the leg is barely sketched in. The painter has omitted the left hand, and an oversized shoulder
appears in its place. He has replaced the parallel stripes of color on the knight’s body with arcs, to which he has given
movement by not filling in most of the blue lines. He has done away with the dragon and considerably enlarged the form of
the white horse (Saint George’s horse is always white). Certain parts of the figures are very large (the hindquarters, breast,
and upper part of the neck of the horse, and the face and shoulders of the knight), and others are small or narrowed (the
horse’s belly and hoofs, the knight’s body). This imbalance of forms, together with the pattern of arcs, creates movement by
exploiting the possibilities of the image-not movement through space, but a pulsation of the image from its center to all
parts of the surface. This movement in immobility is related to the optical effects in pictures of demons.

一个偶然的机会，我们知道了这位画家所使用的范本--一幅相同风格的画作，他对其进行了重大修改。在模型中，腿部的
画法是让它从马鞍的装饰中脱颖而出，但在这里，这两个元素形成了一个平面，腿部的背部线条几乎没有勾勒。画家省
略了左手，取而代之的是一个过大的肩膀。他用弧线取代了骑士身体上的平行条纹，并通过不填满大部分蓝色线条来赋
予其动感。他摒弃了龙的形象，大大放大了白马的外形（圣乔治的马总是白色的）。人物的某些部分非常大（马的后
躯、胸部和颈部上半部分，骑士的脸部和肩部），而其他部分则很小或很窄（马的腹部和蹄部，骑士的身体）。这种形
式上的不平衡，加上弧线的模式，通过利用图像的可能性创造了运动--不是空间的运动，而是图像从中心到表面各处的脉
动。这种不动中的运动与恶魔画中的光学效果有关。

The three basic colors-red, blue, and yellow-tend toward saturation. The blank square under the horse was meant for an
inscription.

红、蓝、黄三种基本色趋于饱和。马下的空白方格是用来刻字的。
PLATE 17 图 17

Abba Samuel on his Lion

阿巴-塞缪尔在他的狮子上

Abba Samuel lived as a hermit in the Waldeba in the time of the Emperor David I (1482-1511). His memory is honored at
the Monastery of Abräntant, where the heavy stone helmet he wore for ascetic exercise can be seen. In that hot region, near
the Takazzé River, lions were plentiful. They would come up to the hermit, “lie down, and lick the dust from his feet.”

大卫一世（1482-1511 年）时期，阿巴-塞缪尔作为隐士生活在瓦尔德巴。人们在阿布兰坦特修道院缅怀他，在那里可以
看到他苦行时戴的沉重的石头盔。在那个靠近塔卡泽河的炎热地区，狮子很多。它们会走到隐士身边，"躺下，舔他脚上
的灰尘"。

“The lions fed in his cave like sheep. He would measure their size; he would probe their wounds and remove their
splinters,” says the Synaxarium dating from 12 Tahsas (i.e., twenty-second of December). Legend describes him as riding on
a lion. According to a widespread belief in Ethiopia, the large wild animals-lions, leopards, elephants, buffalo-are the
mounts or the property of zar spirits and saints. Abba Samuel received a promise of protection for anyone who invoked his
name.

"狮子像羊一样在他的洞穴里进食。他会测量它们的大小；他会探查它们的伤口，取出它们的碎片，"12 Tahsas（即 12 月
22 日）的 Synaxarium 说道。传说中他骑在一头狮子身上。埃塞俄比亚人普遍相信，狮子、豹子、大象、水牛等大型野
生动物是札尔神灵和圣人的坐骑或财产。阿巴-塞缪尔得到了一个承诺，凡是呼唤他名字的人都会得到保护。

Wearing a blue-green robe and a blue belt, Abba Samuel holds a Cross in one hand with which he exorcises a small, hairy
blue demon. A strange figure is placed under the lion: a naked woman, her arms and legs spread to show her sex. The
prototype of the legend illustrated by this image, a saint’s temptation by a prostitute, is found in the Synaxarium dating
from 2 Hamle (i.e., tenth of July): some local dignitaries who were opposed to Christianity placed a naked prostitute at the
entrance of their town to halt the Apostle Thaddeus, who was on his way there. This type of image is extremely rare in
Ethiopia. The position of the woman, her arms and legs spread, recalls certain Greco-Egyptian figurines in bronze or
terracotta which were intended to keep the evil eye and other malevolent powers away.

阿巴-塞缪尔身穿蓝绿色长袍，腰系蓝色腰带，一手拿着十字架，一手拿着十字架驱赶一个长满毛发的蓝色小恶魔。狮子
下放着一个奇怪的人物：一个裸体女人，她张开双臂和双腿，露出性器官。这幅图像所描述的传说原型--圣人受到妓女的
诱惑--见于哈姆勒二世（即 7 月 10 日）的 Synaxarium：一些反对基督教的地方权贵在他们城镇的入口处摆放了一个赤
身裸体的妓女，以阻止正在前往该地的使徒萨德斯（Thaddeus）。这种图像在埃塞俄比亚极为罕见。女人张开双臂和双
腿的姿势让人想起希腊-埃及的一些青铜或赤土雕像，这些雕像的目的是驱除邪眼和其他邪恶力量。
PLATE 18 图 18

Gäbrä Mänfäs Qeddus

This is perhaps the most popular of Ethiopian saints. Like Abba Samuel, he probably appears in the scroll because he was
venerated in the client’s house. According to legend, he lived at the end of the thirteenth century on Mount Zeqwala, a
volcano near Addis Ababa.

他可能是埃塞俄比亚最受欢迎的圣人。与阿巴-塞缪尔一样，他之所以出现在画卷中，可能是因为他被供奉在客户家中。
根据传说，他于 13 世纪末生活在亚的斯亚贝巴附近的一座火山 Zeqwala 山上。

The fifteenth-century illuminations illustrating his life show him in ceremonial attire, as they do other saints. In the
seventeenth century, Ethiopian painters adopted the iconography of Paul of Thebes (a figure praying, surrounded by lions,
with a crow coming to him) at the cost of a few modifications; for example, the portrayal of the palm-leaf clothing of the
Coptic saint was reinterpreted as the hair and beard hanging down to cover the Saint’s naked body, in imitation of Macarius
the Egyptian. A story of his life says: “I have worn no clothing up to this day; I have covered myself neither with worldly
garments, nor with grass or leaves.” The power of exorcism is attributed to him, and a particular gift for healing leprosy.

十五世纪描绘保罗生平的插图中，他和其他圣人一样身着礼服。十七世纪，埃塞俄比亚画家采用了底比斯的保罗的肖像
画（一个祈祷的人物，被狮子包围，一只乌鸦向他走来），但做了一些修改；例如，科普特圣人的棕榈叶衣服被重新诠
释为头发和胡须垂下，遮住圣人的裸体，以模仿埃及的马卡利斯。关于他生平的一个故事说："直到今天，我都没有穿过
衣服；我既没有用世俗的衣服遮盖自己，也没有用草或树叶遮盖自己"。他有驱魔的能力，还有治愈麻风病的特殊天赋。

Here the painter has shown the Saint wearing the white turban of priests and dabtaras, and the fine black lines on his body
are only a faint suggestion of his long hair. In one hand he holds the long iron Cross of the hermits, in the other their rosary.

在这里，画家让圣人戴上了祭司和达布塔拉人的白色头巾，身上的黑色细线只是他长发的模糊轮廓。他一手拿着隐士们
的长铁十字架，一手拿着他们的念珠。
The drawing of the Saint’s face and shoulders shows the same stylistic peculiarities as the images of angels in Plate 15. The
vertical white column under the neck and the horizontal red band at the height of the shoulders can only be explained by
comparison with the portrayal of angels and demons: the vertical embroidery on angels’ robes, the chains binding the
hands and the neck and feet of demons.

圣人面部和肩部的画法与图版 15 中的天使形象具有相同的风格特点。脖子下方的垂直白柱和肩部高处的水平红带只能通
过与天使和恶魔的形象进行比较来解释：天使长袍上的垂直刺绣、捆绑双手的锁链以及恶魔的脖子和脚。

PLATE 19 图 19

A Cherub (?) 一个小天使（？）

This picture is derived from the central motif in Plate 9. The spirals, some of which are drawn out to the tips of the eight
points, have become integral parts of the motif, and eyes have been inserted in the closed spaces they form.

这幅画源自图版 9 中的中心图案。螺旋线（其中一些延伸至八个点的顶端）已成为图案不可分割的一部分，而眼睛则被
插入其形成的封闭空间中。

This painting is often interpreted as the image of a cherub. The Qälémentos says: “There are angels who have many eyes
and many faces. . . .” According to the esoteric book known as the Mysteries of Heaven and Earth, angels have eight wings:
“With two wings they cover their faces; with two more they cover their feet; with two more they hide their hands; and with
two more they hide their penises.”

《这幅画通常被解释为小天使的形象。卡门托斯》说："有天使有许多眼睛和许多面孔。. . ."根据被称为 "天地之谜 "的神

秘书籍记载，天使有八只翅膀："他们用两只翅膀遮住他们的脸 再用两只翅膀遮住他们的脚 再用两只翅膀遮住他们的手
再用两只翅膀遮住他们的阴茎"

In another place, the Qälémentos says: “They all sing and give praise with untiring voices. They rise from degree to degree
of angels, as if between Heaven and the earth before your eyes.” The Ethiopians have produced many commentaries on this
kind of hierarchy, and various interpretations have inspired their painting. Thus, according to some, the central face,
representing one of the cursed flying angels, transmits his word to the eight servants who surround him and cover him with
their wings. The servants then go through the world spreading destruction. In this case, the upper and lower bands can be
interpreted as places (flowers, fields) where these impure spirits appear or lie in wait.

在另一处，《卡莱门托斯》说："他们都在用不倦的声音歌唱和赞美。他们从一个等级升到另一个等级，就像在你眼前的
天堂和大地之间。埃塞俄比亚人对这种等级制度做出了许多评论，各种解释也激发了他们的绘画灵感。因此，有些人认
为，中央的面孔代表着其中一个被诅咒的飞天天使，他将自己的话语传递给围绕在他周围的八个仆人，并用翅膀将他罩
住。然后，仆人们在世界上散播毁灭。在这种情况下，上下两条带可以解释为这些不洁的灵魂出现或潜伏的地方（花
朵、田野）。

According to another interpretation, the picture represents the net in which Solomon caught the demons like fish. The
central face is a demon, identifiable by the texts written on the scroll; the eyes are angels watching him; the black arcs are
the seals that imprison him.

另一种解释是，这幅画代表了所罗门像捕鱼一样网住恶魔的网。中央的面孔是一个恶魔，可以通过卷轴上的文字辨认出
来；眼睛是监视他的天使；黑色的弧线是囚禁他的封印。

This talisman is also called “scissors” because of the X’s placed in the four directions, serving as scissors to cut off aggressive
spirits.

该护身符也被称为 "剪刀"，因为在四个方向上都有一个 "X"，就像一把剪刀，可以剪掉具有攻击性的灵魂。

Symbolic interpretations and their various bases are equally numerous. Sometimes dabtaras simply say that a talisman like
this is meant to drive demons away, the eyes having a protective function apart from any other interpretation.

象征性的解释及其各种依据同样不胜枚举。有时，达布塔拉人只是说这样的护身符是用来驱赶恶魔的，眼睛除了其他解
释外还有保护功能。
PLATE 20 图版 20

Faces and Checkered Patterns

面孔和方格图案

In a talisman such as this, notable for the harmony of its colors and the apparently assymetrical arrangement of its
elements, aesthetics seems to play a great part. One is only faintly reminded of certain Islamic talismans with their
alternating X’s and small checks with prayers written on them.

在这样一个色彩和谐、元素排列明显不对称的护身符中，美学似乎发挥了重要作用。这不禁让人联想到某些伊斯兰护身
符，上面交替出现 X 和写有祈祷词的小方格。

However, this composition of sixteen boxes almost symmetrically arranged (except for four) around the center is not wholly
devoid of symbolism. There are four Crosses, four checkered sections, and seven motifs containing half-faces. These are the
most common numbers in talismanic symbolism: the four faces of all things, the four Evangelists, the four directions, the
four bishops, the four animals that bear the throne, the four rivers of Paradise, the four nails of the Cross, and the seven
archangels, the seven days of the week, the seven luminaries, the seven windows of Heaven.

然而，这个由 16 个几乎对称排列（除了 4 个）的方框组成的中心图案并非完全没有象征意义。其中有四个十字、四个方

格和七个包含半面的图案。这些都是护身符象征意义中最常见的数字：万物的四面、四福音书、四个方向、四位主教、
承载宝座的四种动物、天堂的四条河流、十字架上的四个钉子，以及七位天使长、一周七天、七个发光体、天堂的七个
窗户。

The X motif, also found in Plates 8 and 9 , is sometimes arranged in large checkered patterns or added, in popular religious
art, to an image of the Virgin or a saint. Combined with prayers, it is said to have the virtue of undoing spells.

X 图案也出现在图版 8 和图版 9 中，有时被排列成大型方格图案，或在流行的宗教艺术中被添加到圣母或圣人的图像

中。据说，X 图案与祈祷文结合在一起，有解除咒语的功效。

As usual, the painter has played with variations in the features of the faces. The large, full face (gätsä säb’e) contrasts with
the seven pairs of half-hidden faces, which can be taken for demons rather than angels (these half-faces come from a
figurative interpretation of decorative motifs). For some dabtaras, the full face represents the King of the Demons, an
intimate of the dabtara invoking him. He is surrounded by earthly demons who are responsible for the client’s illness.

与往常一样，画家对脸部特征进行了变化。大而完整的脸（gätsä säb'e）与七对半隐藏的脸形成鲜明对比，后者可被视为
恶魔而非天使（这些半脸来自对装饰图案的形象化解释）。对于某些达布塔拉来说，全脸代表恶魔之王，是召唤他的达
布塔拉的亲近者。他的周围围绕着人间的恶魔，这些恶魔是客户疾病的罪魁祸首。

Written above the talisman are the magic words Solomon spoke against the demon-blacksmiths who had imprisoned him:
lofham, mähafelon, neflos…

护身符上方写着所罗门对囚禁他的恶魔铁匠所说的魔语：lofham、mähafelon、neflos...

(als) (如)

PLATE 21 图 21
Nine Angels 九个天使
This scroll was collected in Axum, in 1906, by the Deutsche Axum Expedition.

这幅画卷是 1906 年德国阿克苏姆探险队在阿克苏姆收集的。

Here the X’s have been transformed explicitly into images of angels. Their number, nine, symbolizes the nine tribes of
angels: Angels, Archangels, Principalities, Powers, Virtues, Thrones, Dominions, Cherubim, and Seraphim.

在这里，"X "被明确转化为天使的形象。它们的数字 "九 "象征着天使的九个部落：天使、大天使、主、权柄、美德、宝

座、统治、基路伯和撒拉弗。

The borders of eyes are interesting. In another scroll, the same dabtara has portrayed the same angels with a border of
demons above and below them. The demons’ arms are extended horizontally, one before and the other behind. Their squat,
misshapen bodies make them look like frogs. The frog is an impure animal par excellence, and an instrument of
bewitchment: chopped fine and mixed with food, frogs re-form themselves in the victim’s stomach after they are eaten,
causing a gradual debilitation and constant pain. Water from sacred springs drives them out. In these borders, the figures
of the demons have been reduced to eyes and their arms to interlacing double lines.

眼睛的边框非常有趣。在另一幅画卷中，同一个达布塔拉画了同样的天使，天使的上方和下方各有一个恶魔边框。恶魔
的手臂水平伸展，一前一后。他们蹲伏着，畸形的身体使他们看起来像青蛙。青蛙是一种极不纯洁的动物，也是一种蛊
惑人心的工具：青蛙被剁成细末，拌入食物中，吃完后会在受害者的胃里重新形成，导致逐渐衰弱和持续疼痛。圣泉的
水可以驱除它们。在这些边框中，恶魔的形象被简化为眼睛，手臂被简化为交错的双线。

Sometimes dabtaras draw an angel between two superimposed images of demons. They say this arrangement signifies that
the angel, swooping down upon the demon, has broken him in two. On that basis we can interpret this talisman as follows:
the nine tribes of angels have broken up the line or assembly of the demons. It is a universal belief that evil spirits assemble
to conspire against humans.

有时，达布塔拉会在两个叠加的恶魔形象之间画一个天使。他们说这种安排意味着天使俯冲到恶魔身上，将其一分为
二。在此基础上，我们可以将此护身符解释为：九个天使部落将恶魔的队伍或集合体打散。人们普遍认为，恶魔会聚集
在一起密谋对付人类。
PLATE 22 图 22

Protective Motif 保护图案

The five known scrolls by the scribe who made this one all contain the same pictures: an angel, then this motif, and finally a
Cross. The texts, on the other hand, differ from scroll to scroll, as do the kinds of skins used for the parchment.

制作这幅画的抄写员已知的五个卷轴都包含相同的图画：一个天使，然后是这个图案，最后是一个十字架。另一方面，
不同卷轴的文字不同，羊皮纸所用的纸皮也不同。

This motif is derived from the one in Plate 10 , but is treated in a pictorial rather than a graphic manner. The surface is
filled, the white spaces are very small squares in a checkered motif.

该图案源于图版 10 中的图案，但采用的是图画而非图形的处理方式。表面被填满，白色空间是方格图案中非常小的方
格。

Five yellow and blue bands alternate with checks of red and white or black and white. In the center is an embroidery. In this
kind of picture, yellow symbolizes light or the flesh of Christ, blue symbolizes beauty or grace, red symbolizes Christ’s blood,
and black the baptismal water.

五条黄蓝条纹与红白或黑白格子交替出现。中间是一幅刺绣。在这种图案中，黄色象征光或基督的肉体，蓝色象征美或
恩典，红色象征基督的血，黑色象征洗礼水。

When other painters use this motif by itself, they sometimes add the inscription: “This is Mrs. So-and-so,” in which case the
client is shown being protected by the grace of God.

当其他画家单独使用这个图案时，有时会加上题词："这是某某夫人"："这是某某夫人"，在这种情况下，画中的客户受到
了上帝恩典的保护。
PLATE 23 图 23

Soldiers of Legion (?)

军团士兵（？）

A similar scroll by the same dabtara, unfortunately recently painted over, was acquired by a Polish ethnographic mission to
Axum in 1974. Its first talisman contains eight figures, rather than six as shown here.

1974 年，波兰的一个阿克苏姆人种学考察团获得了一幅由同一个达布塔拉创作的类似卷轴，可惜最近被涂上了油漆。它
的第一个护身符包含八个人物，而不是这里的六个。

Should we see this frightening group as the soldiers of Legion (Légéwon) in the form of the swine in the Gospels?

我们是否应该把这群可怕的人看作是《福音书》中以猪的形式出现的军团士兵（Légéwon）？

The formal treatment, with the eyes serving as the focus for each figure, is particularly interesting. The eyes are especially
striking because of their size, their abstract contrast of black and white, and the position of the pupil at the bottom of the
eye where the lower contour has been thickened. It is the image of terror and revulsion. The ears are comparable to the eyes
in size and form and are placed on the same axis. Thus, the transversal line of balance of the body, usually at the height of
the shoulders (the Cross) is shifted here to the level of the eyes. Fine radiating lines on the curved outlines of the forehead
and ears suggest hair or bristles, but their purpose is mainly formal: by repeating the lines of the forehead and ears, the
painter has made the horrible faces seem to leap out at us. The noses suggest animal snouts with the size of their nostrils,
and the mouths are drawn vertically (see Plate 5).

眼睛是每个人物的焦点，这种形式上的处理特别有趣。眼睛的大小、抽象的黑白对比，以及瞳孔位于下轮廓被加粗的眼
睛底部的位置，都特别引人注目。这是一个恐怖和令人反感的形象。耳朵的大小和形状与眼睛相当，并且位于同一轴线
上。因此，通常位于肩部高度的身体平衡横线（十字线）在这里被移到了眼睛的位置。额头和耳朵的弧形轮廓上的放射
状细线暗示着头发或鬃毛，但其目的主要是形式上的：通过重复额头和耳朵的线条，画家让可怕的面孔似乎跃然纸上。
鼻子的大小让人联想到动物的鼻子，而嘴巴则是垂直绘制的（见图 5）。

The body outlines are a schematization of pictures of saints’ capes in seventeenth-century illuminations.

身体轮廓是十七世纪插图中圣徒披风图片的示意图。

Bodies and heads are encircled by a blue or green line, the green having been made from blue over yellow. In the faces, the
usual order of red over a yellow ground has been reversed; the faces are yellow over a ground of fire-red. In a number of
talismans, Ethiopian dabtaras signify the presence of the demonic and its power of transgression by reversing the usual
arrangement of colors.

身体和头部由蓝色或绿色线条环绕，绿色是由蓝色覆盖黄色制成的。在脸部，通常是红底黄字的顺序被颠倒了；脸部是
黄底火红。在一些护身符中，埃塞俄比亚的达布塔拉通过颠倒通常的颜色排列来表示恶魔的存在和它的破坏力。
PLATE 24 图 24

Demon (?) 恶魔（？）

This talisman is by the same hand as those in Plates 1, 2, and 3, and the image is similar to that in Plates 5 and 14. It is
interesting to compare the treatment of the image here and in Plate 14. In the latter, the painter has aimed at movement
and spectacular effect, whereas the painter here has worked just as intently for a masterful and regular depiction of the
forms. In the earlier image, the snakes’ bodies are relatively slender in relation to the surface of the face, so that the
movement that animates them does not communicate to the adjacent surface. Warm tones, red and yellow, are
predominant and add to the dynamism of the picture. Here, on the other hand, red (warm) and blue (cool) are in balance,
and the snakes’ coils are an integral part of the face, due to their thickness but even more because of the interpenetration of
red and blue areas. This is a masterpiece of Ethiopian talismanic art.

该护身符与图版 1、2 和 3 中的护身符出自同一人之手，其图像与图版 5 和 14 中的图像相似。比较一下这里和图版 14 中

的图像处理方式很有意思。在后者中，画家追求的是动感和壮观的效果，而在这里，画家同样专注于对形体进行精湛而
有规律的描绘。在前一幅作品中，蛇的身体相对于脸部的表面较为纤细，因此蛇的运动并没有传递到邻近的表面。红色
和黄色的暖色调占主导地位，增加了画面的活力。而在这幅作品中，红色（暖色调）和蓝色（冷色调）达到了平衡，蛇
的盘绕是脸部不可分割的一部分，这是因为它们的厚度，更因为红色和蓝色区域的相互渗透。这是埃塞俄比亚护身符艺
术的杰作。

It is understandable that an image of an angel should drive demons away, but one may wonder why a demon should be
afraid of his own image. A dabtara answered this naïve question by explaining that the image is not of a demon but of an
angel dressed up as a demon, in which guise he attacked his victim. A demon has no form of his own but appears in a dream
or in a particular place in the form of a snake, a bird, a leopard, a spider, etc. The dabtara inquires about these
hallucinations and portrays them; hence the snakes, leopard’s spots, and so on in Plate 14. The sick person, seeing this
composite image, recognizes the visions in his dreams and cries out in fear, and the demon flees. The appearance is the
same, but the demonic content has been turned into angelic content. In other words, the sick person sees the hallucinatory
scene again but in a liberating way.

天使的形象驱赶恶魔是可以理解的，但人们可能会问，为什么恶魔会害怕自己的形象呢？一位达布塔拉人回答了这个天
真的问题，他解释说，这不是恶魔的形象，而是天使装扮成恶魔的形象，并以这种形象攻击受害者。恶魔没有自己的形
体，只是在梦中或在特定的地方以蛇、鸟、豹、蜘蛛等形体出现。达布塔拉会询问这些幻觉并将其描绘出来，因此图板
14 中会出现蛇、豹斑等。病人看到这个合成图像，就会认出梦中的幻觉，并恐惧地大叫，恶魔就会逃走。外观是一样
的，但恶魔的内容变成了天使的内容。换句话说，病人再次看到了幻觉场景，但却是以一种解放的方式。

These remarks on the appearance of spirits recall Ibn Kaldoun’s critique of the text by the Islamic historian Masudi cited in
Plate 14: that genies “have no forms or faces of their own, but can take whatever ones they want.”

这些关于精灵外貌的论述让人想起伊本-卡尔杜恩对图版 14 中引用的伊斯兰历史学家马苏迪的文章的批判：精灵 "没有自

己的形体或面孔，但可以随心所欲"。
PLATE 25 图 25

Two-headed Demon (?) 双头恶魔（？）

This picture is derived from the one which shows demons whose heads are surrounded by snakes, as certain intermediary
figures prove. We will retrace the process. A painter, copying an image of the type shown in Plates 5, 14, or 24 , considerably
accentuated the narrowing of the facial contour at the level of the eyes, almost dividing the face in two. He placed the eyes
in the upper part and extended the nose into the lower part. The maker of a talisman of the type shown here paints a face in
each part of the head for the sake of symmetry, and leaves the snakes’ heads out. The rounded forms on either side of the
demon’s head in Plate 5 represent ears, but here they have become yellow triangles signifying “flames leaping from his
eyes.” The double arcs drawn here and there on the body are “the chains that bind him.” Demons attack hümans in many
guises - animal, angelic, or human. They may have one, two, or several faces.

这幅画是由一幅画衍生而来的，画中的恶魔头被蛇环绕，某些中间的图形也证明了这一点。我们将回溯这一过程。一位
画家在临摹图 5、图 14 或图 24 所示类型的图像时，大大加强了眼睛处面部轮廓的收窄，几乎将面部一分为二。他把眼
睛放在上部，把鼻子延伸到下部。为了对称起见，此处所示类型的护身符的制作者会在头部两侧各画一张脸，而不画蛇
头。图版 5 中恶魔头部两侧的圆形代表耳朵，但在这里变成了黄色三角形，表示 "火焰从他的眼睛中蹿出"。身上画的双
弧线是 "束缚他的锁链"。恶魔以动物、天使或人类等多种形式攻击胡曼人。它们可能有一张脸、两张脸或多张脸。

The presence of two superimposed faces, and hence of two beings, sometimes leads to other kinds of interpretation. The
lower face may be said to be the victim’s and the upper face that of the spirit riding on him. Since the first image is of an
angel, and a double line, dividing the text into two columns, links it to this two-headed figure, one dabtara has explained
that the angel is in the act of driving the demon out of the sick person.

两张脸的叠加，也就是两个人的叠加，有时会导致其他解释。下面的脸可以说是受害者的脸，上面的脸则是骑在他身上
的灵魂的脸。由于第一个图像是一个天使，而将文字分成两列的双线将其与这个双头图像联系在一起，一个达布塔拉人
解释说，天使正在将恶魔从病人身上赶走。

According to a widespread opinion, which has already been mentioned in connection with Plate 20, the large demons in
talismans are not the attacking spirits themselves but demon kings, the intimates of the dabtaras who evoke them and order
them to lead away the spirits responsible for the victim’s ills. The seance of evocation, according to legend, ordinarily took
place on a river bank, and the medium was a child who had not reached puberty. Dabtaras portray these demon kings in all
their power: gigantic, terrifying to demons as well as humans, but never ugly. It is also commonly said that the demon
portrayed on the scroll drives out the attacker “as a thorn in the foot is removed by another thorn.”

在图版 20 中已经提到过的一种普遍观点认为，符箓中的大妖怪并不是攻击人的鬼魂本 身，而是妖王，是达布塔拉的亲

信，达布塔拉唤起他们，命令他们引走造成受害者疾 病的鬼魂。据传说，唤灵仪式通常在河边举行，灵媒是一个未到青
春期的孩子。达布塔拉描绘了这些妖王的全部力量：巨大、人鬼皆惧，但绝不丑陋。人们还常说，画卷上描绘的妖魔会
驱赶攻击者，"就像脚上的刺被另一根刺拔掉一样"。
PLATE 26 图版 26

Demon 恶魔
Considering the development of talismanic art since the eighteenth century, through treatments of the same image, we will
notice a weakening of artistic technique and an increasing tendency toward expressionism. We might say, in the words of
the painter Jean Dubuffet, that this art is turning more and more into art brut. Compare Plate 24 (eighteenth century) and
Plate 14 (nineteenth century) with this one (twentieth century)!

回顾十八世纪以来护身符艺术的发展，通过对同一图像的处理，我们会发现艺术技巧的弱化和表现主义倾向的增强。用
画家让-杜布菲（Jean Dubuffet）的话来说，我们可以说，这种艺术越来越变成了野蛮艺术。比较图版 24（十八世纪）
和图版 14（十九世纪）与本图版（二十世纪）！

This monster was born from the imperfect transformation of a face into a body. Having drawn the snakes’ coils in the upper
part of the face, with huge round eyes beneath them, the painter then replaced what would have been the jaw with two
vertical double lines ending in feet. He has raised the arms to just under the eyes, added a face (eyes and nose) to what
originally was the forehead, and covered the arms and body with arcs. The result is a four-eyed monster, the lower part of
whose face appears as a body. As in Plate 14, the mouth has been left out or disguised. The hands are oversized-a common
pictorial characteristic which is here reinforced by the popular belief that yäzar-welladj (“bastards of zar”) have long fingers
with uncut nails. The demon is decked out with a bird’s tail, in accordance with the text of the Synaxarium concerning the
life of Saint Susenyos.

这个怪物的诞生源于脸部与身体的不完美结合。画家在脸的上半部分画了蛇的线圈，下面是巨大的圆眼睛，然后用两条
垂直的双线代替了原来的下巴，最后是脚。他将手臂抬高到眼睛下方，在原本是前额的地方加上了一张脸（眼睛和鼻
子），并用弧线覆盖了手臂和身体。这样就形成了一个四眼怪物，脸的下半部分是身体。与图版 14 一样，嘴巴被省略或
伪装了。手过大--这是一种常见的图像特征，由于人们普遍认为 Yäzar-Welladj（"扎尔的杂种"）的手指过长，指甲未
剪，这一点在这里得到了加强。根据 Synaxarium 中有关圣苏塞尼奥斯生平的文字，恶魔的身上有一条鸟的尾巴。

There are ten known scrolls by this dabtara, who died at the time of the Italian invasion. He followed the instructions in the
awd nägäst (treatise on divination) for the skins and texts. His versions of prayers in Geez are full of mistakes, but that
ignorance is compensated for by the definite graphic talent shown in the variety and force of his drawings of demons. The
identifying of head and body, along with other substitutions of one part of the body for the whole, and the importance given
to eyes and their spellbinding gaze, cannot but remind us of psychotic phenomena. There are numerous analogies between
the art of the scrolls and psychopathological art as known in the modern West. These talismans respond to an
interpretation of mental illness as a process of depersonalization and of invasion by a spirit that may be either foreign to the
sick person or bound to him over many years, even from birth or through “seven generations” of his family.

这位达布塔拉在意大利入侵时去世，目前已知他的作品有十卷。他按照 awd nägäst（关于占卜的论文）中的指示来制

作画皮和文字。他在《吉斯》中的祈祷文版本错误百出，但他在绘制各种恶魔时所表现出的绘画天赋和力度弥补了他的
无知。头部和身体的辨认，以及身体某一部位对整体的替代，还有对眼睛及其迷人目光的重视，都不禁让我们联想到精
神病现象。卷轴艺术与现代西方的精神病理学艺术有许多相似之处。这些护身符将精神病解释为一种人格解体的过程和
一种精神入侵的过程，这种精神可能是病人所不具备的，也可能是多年来与病人绑定在一起的，甚至从出生起或通过其
家族的 "七代 "就与病人绑定在一起。
PLATE 27 图版 27
Solomon, Chief of Wise Men (inscription)

智者之首所罗门（题词）

This scroll was collected by Enno Littmann in Axum in 1906. The two images of Solomon are opposed: above he has a
horned crown, below a crown with a Cross. A passage from the book entitled The Glory of the Kings (Kebrä Nägäst), chapter
66, enables us to understand the picture. According to the interpretation of a prophecy, the name Solomon in secret
language means “Christ.” The figure above is King of the Old Kingdom, and the utensils (ewers, vases, cup) are those of the
Temple at Jerusalem. The reversed figure below is Solomon-Christ, King of the New Kingdom. Two Crosses have been
substituted for the utensils, because nothing equals the Cross in importance (“The Cross is alpha and omega”). Each king
holds a cloth, a sign of his majesty, in his right hand and is accompanied by two servants.

这幅卷轴是恩诺-利特曼于 1906 年在阿克苏姆收集的。所罗门的两个形象是相对的：上面是带角的王冠，下面是带十字

架的王冠。国王的荣耀》（Kebrä Nägäst）一书第 66 章中的一段话使我们能够理解这幅画。根据预言的解释，所罗门这
个名字在秘语中的意思是 "基督"。上面的人物是旧王国的国王，器皿（瓮、瓶、杯）是耶路撒冷圣殿的器皿。下面的反
面图是所罗门-基督，新王国的国王。用两个十字架代替了器皿，因为没有什么能与十字架的重要性相提并论（"十字架
是阿尔法和欧米茄"）。每个国王的右手都拿着一块布，象征着他的威严，身边还有两个仆人。

The four serpents or dragons are the demons Solomon called up using his ring engraved with the name of God. The painter
has varied their faces (see Plate 31). These variations signify that they were willing servants of Solomon and that they were
conquered and terrified by Christ. In connection with Christ, the serpents could also be the brazen serpents of Moses,
symbols of Christ’s Cross (Sargis of Aberga). They are often engraved on Ethiopian Crosses.

四条蛇或龙是所罗门用刻有神名的戒指召唤来的恶魔。画师将它们的面孔变化了一下（见图版 31）。这些变化表明，它
们是所罗门心甘情愿的仆人，而基督征服了它们，使它们感到恐惧。与基督有关，这些蛇也可能是摩西的大蛇，是基督
十字架的象征（阿贝加的萨吉斯）。它们经常被刻在埃塞俄比亚十字架上。

The central face may be the demon Mäzhab, the most eminent of Solomon’s four throne bearers, or it might be Satan
himself, imprisoned. The two faces haloed in yellow on opposite sides of the central face are angels sent by God to protect
Solomon.

中央的面孔可能是所罗门四位王座守护者中最杰出的恶魔麦扎卜，也可能是被囚禁的撒旦本人。中央面孔两侧的两个黄
色光环是上帝派来保护所罗门的天使。

The dabtara has used a common decorative design to organize the picture: an X whose arms he has turned into snakes.

达布塔拉使用了一种常见的装饰设计来组织画面：一个 "X"，他把 "X "的手臂变成了蛇。

PLATE 28 图 28

Lobed Talisman 裂片护身符

This image may be considered the culmination of the art of the scrolls.

这幅画可以说是卷轴艺术的巅峰之作。

We have pointed out in the Introduction that a number of talismans are composed of decorative motifs with eyes or faces
added. Thus it is common for a painter (see Plate 27) to turn the curved arms of an ornamental X into four snakes by
drawing an eye at the end of each arm, a double line just below it to suggest the separation of the head from the body, and a
pattern of arcs to indicate the body. Retaining these formal elements, dabtaras have further transformed the image by
bringing the snakes’ heads together mouth to mouth and enlarging their bodies, while keeping the narrowed middle of the
X . The result is a four-lobed design.

我们在导言中已经指出，许多护身符都是由装饰图案加上眼睛或脸组成的。因此，画家通常（见图 27）在装饰性 X 形图
案的弧形臂末端各画一只眼睛，在眼睛下方画一条双线，暗示头部与身体分离，并用弧形图案表示身体，从而将弧形臂
变成四条蛇。在保留这些形式元素的基础上，达布塔拉人进一步改造了图像，将蛇的头部嘴对嘴靠在一起，并扩大了蛇
的身体，同时保留了 X 中间的狭长部分。最终形成了一个四叶图案。

The image shown here was arrived at by a contraction of the second and third pairs of lobes of a doubled motif (see Figure
XVIII), producing a design with three pairs of lobes, the central pair with four eyes. The eyes at the far ends of the motif
have been moved inside the double median lines of their respective lobes. The organization of forms is thus totally changed.
Originally they were animal forms seen in profile, arranged vertically and touching belly to belly. Here each eye, associated
with the one next to it on the transversal axis, depicts a face looking straight out at the sick person. The facing lobes form a
single oval crossed in the center by a broken double line. The eyes consist of a large disc inscribed in a white oval; the arcs of
the lobes are marked, on the other hand, by a fine interpenetration of black and white. The result is a striking contrast of
forms, the more so in that the oval form of the double lobes is similar to that of the eyes. This contrast produces movement
in immobility, that is, a force of attraction whose focus is the eyes. The double lobes are the space in which these eyes
appear. In other words, the talisman is nothing but an intense gaze. The image still retains something of the human
silhouette in its proportions and in the lines that connect it to its base.

这里展示的图案是将一个双层图案（见图 XVIII）的第二对和第三对裂片收缩后形成的，图案有三对裂片，中间的一对
裂片上有四只眼睛。图案远端的眼睛被移到了各自裂片的双中线内。这样，图案的组织结构就完全改变了。最初，它们
是动物的侧面，垂直排列，腹部相接。在这里，每只眼睛都与横轴上相邻的一只眼睛相关联，描绘了一张直视病人的
脸。面叶形成一个椭圆形，中间有一条断开的双线交叉。眼睛由一个刻在白色椭圆形中的大圆盘组成；而眼裂的弧线则
由细密的黑白穿插构成。这就形成了鲜明的对比，尤其是双叶的椭圆形与眼睛的椭圆形相似。这种对比产生了静中有动
的效果，即一种以眼睛为焦点的吸引力。双叶是眼睛出现的空间。换句话说，护身符只是一种强烈的凝视。画面在比例
和连接底座的线条上仍保留了一些人体轮廓。

PLATE 29 图 29

Sun and Three Animals

太阳和三只动物

For Ethiopians, the sun is the symbol of Christ, the Savior of the World. The rising sun is red and symbolizes the Creator. It
is invoked to drive demons away.

对埃塞俄比亚人来说，太阳是世界救主基督的象征。初升的太阳是红色的，象征着造物主。太阳被用来驱赶恶魔。

What do these animals represent? The adjacent text is composed of passages from the Net of Solomon. In the complete
version, the defeated King of the Demons describes their works and enumerates their disguises: “Ten thousand have asses’
faces, ten thousand have horses’ faces, ten thousand have the faces of oxen, ten thousand the faces of birds, ten thousand
the faces of lions, ten thousand have the faces of panthers, ten thousand have human faces. . . .” This text is the best-known
exposition in magico-religious literature of the metamorphosis of demons into animals.

这些动物代表什么？旁边的文字由《所罗门网》中的段落组成。在完整版中，被打败的恶魔之王描述了它们的作为，并
列举了它们的伪装："一万个有驴的面孔，一万个有马的面孔，一万个有牛的面孔，一万个有鸟的面孔，一万个有狮子的
面孔，一万个有豹的面孔，一万个有人类的面孔。. . ."这段文字是魔法宗教文献中最著名的关于恶魔变身动物的论述。

One of the animals is a snake with a head at either end of its body. Birds are shown in profile but with both eyes visible - a
multiplication of gazes. We should point out in connection with these bizarre forms the importance of the hybrid and the
abnormal in traditional medicine. The following animals are held to be responsible for illnesses and are made use of in
complex rituals: the chameleon (perhaps the most important), the snake, the frog (see Plate 21), the bat (the whirling of a
menstruating bat causes jaundice), the spider (its urine carries leprosy), the snail, etc. Of all vegetables, the most richly
symbolic is a parasite of the Loranthacean family known as täqütsella. Its use varies according to which plant it lives on.
Among spirits, the yä zar welladj, born of a zar and a ganén (demon), is very dangerous and difficult to get rid of because
medicines, having only one nature, cannot act against his ambivalance.

其中一种动物是蛇，蛇头位于身体两端。鸟类是侧面，但两只眼睛都能看到--这是一种多重凝视。关于这些怪异的形式，
我们应该指出混合和异常在传统医学中的重要性。以下动物被认为是疾病的元凶，并被用于复杂的仪式中：变色龙（可
能是最重要的）、蛇、青蛙（见图 21）、蝙蝠（月经期蝙蝠的旋转会导致黄疸）、蜘蛛（其尿液会携带麻风病）、蜗牛
等。在所有蔬菜中，最具象征意义的是一种被称为 "täqütsella "的洛神花科寄生植物。它的用途因其寄生的植物而异。在
鬼魂中，"yä zar welladj "是由一个 "zar "和一个 "ganén"（恶魔）所生，非常危险且难以摆脱，因为药物只有一种性质，
无法对抗它的矛盾性。

To the left of the large bird, we see three pairs of “characters” or ringed letters. They are often interpreted as signifying the
cries of the demons called up by Solomon. Under the bird the name of the client, Askalä Maryam, has been written.

在大鸟的左边，我们看到三对 "字符 "或环形字母。它们通常被解释为所罗门召唤恶魔的叫声。鸟的下方写着客户的名字-

-阿斯卡莱-玛利亚姆。
PLATE 30 图版 30

Woman 女性
The pictures on this Tigrean scroll are done in the style of the second scroll presented in this book (Plates 4, 5, and 6). A
number of abstract motifs such as those in Plates 9 and 19 are interpreted as representing the sick person surrounded by his
sicknesses. But sometimes, as we pointed out in connection with Plate 22, the sick person is explicitly portrayed.

这幅提格雷卷轴上的图画采用了本书介绍的第二幅卷轴（图版 4、5 和 6）的风格。一些抽象的图案，如图版 9 和图版 19

中的图案，被解释为表现被疾病包围的病人。但有时，正如我们在图版 22 中指出的那样，病人的形象是明确的。

The proportions of the body are similar to those of the angel in Plate 4. As usual, the forearms have been projected onto the
same plane as the bust, and the fingers are very long. The hairstyle of Abyssinian women is clearly recognizable-the hair
twisted into fine braids close to the head and falling loosely over the shoulders in an ample mass (hence the inclusion of two
locks of hair). As in other images of this style, there are colored rings around the woman’s eyes and a yellow and blue aura
around her body.

身体比例与图版 4 中的天使相似。与往常一样，前臂与半身像在同一平面上，手指非常长。阿比西尼亚妇女的发型清晰
可辨--头发紧贴头部拧成细辫，松散地披散在肩上（因此画中有两绺头发）。与其他这种风格的图像一样，妇女的眼睛周
围有彩色的环，身体周围有黄色和蓝色的光环。

The two points covered with zigzag lines represent tattooed breasts. Even today, in many parts of Ethiopia, women are
tattooed with ornamental motifs, not only on the neck but on the shoulders and chest. Until the nineteenth century, serving
girls and peasant women went about their daily tasks with their breasts bared. The Portuguese chaplain Alvarez, who lived
in Ethiopia at the beginning of the sixteenth century, wrote: “The young women are not wellbehaved. At twenty or twenty-
five, they delight in letting their breasts hang free, so that they swing against their waists, taking this for a marvellous
embellishment and a thing of great allure. They bare their bodies and decorate themselves from the waist down with
paternosters hung from strings… This is to be observed only among the common people, for the noble women wear clothing
and cover their limbs completely.”

布满人字形线条的两点代表文身的乳房。时至今日，在埃塞俄比亚的许多地方，妇女不仅在脖子上，而且在肩膀和胸部
都纹有装饰图案。直到 19 世纪，服役少女和农妇都袒胸露乳地从事日常工作。16 世纪初在埃塞俄比亚生活过的葡萄牙牧
师阿尔瓦雷斯写道："年轻妇女并不乖巧。二十岁或二十五岁时，她们喜欢让乳房自由悬垂，让它们在腰间摆动，认为这
是一种奇妙的装饰，具有极大的诱惑力。她们裸露着身体，腰部以下用绳子挂着胸饰来装饰自己......这只有在普通人中才
能看到，因为贵族妇女都穿着衣服，把四肢完全遮住"。

In another image of the same style, a well-dressed woman, her bust covered, her hair done in the same fashion, is shown
standing between two servants who are holding umbrellas. We may assume, then, that the woman this scroll was made for,
Wälättä Täklä Haymanot, was of a lower class. There is a twentieth-century picture that portrays a woman wrapped up in
her robe standing between two angels. Above it is written: “How the angels guard their host.”

在另一幅风格相同的图画中，一位衣着得体的妇女站在两位撑着伞的仆人中间，她的胸部被遮住，头发也以同样的方式
梳理。因此，我们可以推测，这幅画卷的主人 Wälättä Täklä Haymanot 属于下层社会。二十世纪有一幅画，画中的女人
裹着长袍，站在两个天使中间。上面写着："天使如何守护他们的主人"

PLATE 31 图 31

Susenyos and Werzelya 苏塞尼奥斯和韦泽利亚

This talisman, a development of the motif in Plate 9, can be interpreted by a comparison with Plate 34 . Saint Susenyos
appears here in the center of the eight-pointed star, with the demoness Werzelya above him between the two upper “wings.”
In any case, the prayer of Susenyos has been written out on the scroll. The frieze of eyes between the two figures may signify
either six faces (similar to the central face in Plate 27) or twelve figures. The latter, given the importance of the number
twelve, is more likely. They would then be the twelve angels mentioned in the Commentary to Plate 32 (rather than
Werzelya’s servants).

这个护身符是图版 9 中图案的发展，可以通过与图版 34 的对比来解释。圣人苏塞尼奥斯出现在八芒星的中心，女妖韦尔

泽莉亚在他上方的两个 "翅膀 "之间。无论如何，苏塞尼奥斯的祈祷词已经写在了卷轴上。两个人物之间的眼睛楣可能代
表六个面孔（类似于图版 27 中的中心面孔）或十二个人物。鉴于十二这个数字的重要性，后者的可能性更大。那么他们
就是图版 32 的注释中提到的十二位天使（而不是维尔泽利亚的仆人）。

In general, the way eyes are portrayed is sufficient to indicate whether they are demonic or angelic, apart from a few
exceptions (whether a demon in the guise of an angel, or the reverse). The eyes of demons are dilated, the round pupils
placed in the center or lower part of the eye. The eyes of humans, saints, and angels are oval, the pupils looking to the side
or consisting of a vertical bar in the center of the eye.

一般来说，除了少数例外情况（无论是恶魔伪装成天使，还是相反），眼睛的描绘方式足以说明它们是恶魔还是天使。
恶魔的眼睛是放大的，圆形的瞳孔位于眼睛的中央或下部。人类、圣人和天使的眼睛是椭圆形的，瞳孔向两侧看，或在
眼睛中央有一条竖线。

There are other known talismans by the same maker. They are all transformations, moving toward the figurative, of the
motif of the eight-pointed star, which finally becomes no more than the radiance around the central figure. It is difficult to
offer an interpretation of the four large eyes and the lower frieze. The most we can say is that the total number of eyes is
twenty-four, which is the number of heavenly preachers mentioned in the Apocalypse.

同一制作者还有其他已知的护身符。它们都是八角星图案的变形，向具象化发展，最后只剩下中心人物周围的光芒。我
们很难对四只大眼睛和下部楣板做出解释。我们最多只能说，眼睛的总数是二十四只，也就是《启示录》中提到的传道
者的数量。
PLATE 32 图 32

Twelve Angels 十二个天使

In the symbolism of the scrolls, the number twelve is connected with the angels mentioned in the following prayer: “God,
thou King! God who hast suffered so much, O thou who sent twelve angels of light to Eve, send also the dew of thy
compassion to thy servant So-and-so, so that Mägaña, Shotälay, Buda ( . . . ) cannot approach her.” A variant reads: “Lord
who sent to Eve the twelve angels of mercy and the twelve angels of forgiveness . . .” This prayer, adapted from a passage in
the Gädlä Adam (Life of Adam), by recalling the grace granted to Eve, is used as protection against excessive bleeding and
miscarriage. These ills are traditionally attributed to spirits (ganén, welladj, or zar), the most well-known of whom are
Shotälay and Mägaña. Shotälay or Abba Shotäl (“Father Sword”) is a demon who cuts up fetuses in the womb with his
sword. Literature has made him the demoness Werzelya’s companion in evil. Mägaña is a demon who attacks the first
person (usually the mother) to come out of the house at dawn and go to the kitchen hut next door. He causes violent
abdominal pains which may lead to natural abortion.

在书卷的象征意义中，数字 "十二 "与以下祷文中提到的天使有关："上帝，你的王！你曾向夏娃派遣十二位光明天使，请

你也向你的仆人某某派遣你的慈悲之露，让麦加尼阿、绍塔雷、布达（......）无法接近她"。另一种说法是"主啊，派十二
位仁慈天使和十二位宽恕天使到夏娃身边......"这段祷文改编自《亚当的一生》（Gädlä Adam）中的一段话，通过忆及赐
予夏娃的恩典，被用来防止出血过多和流产。这些疾病传统上都归咎于神灵（ganén、welladj 或 zar），其中最著名的是
Shotälay 和 Mägaña。Shotälay 或 Abba Shotäl（"父亲之剑"）是一个恶魔，他会用剑切割子宫中的胎儿。文学作品将他
塑造成女魔头维尔泽莉亚的邪恶伴侣。麦加尼亚（Mägaña）是一个恶魔，会攻击黎明时第一个从屋子里出来并前往隔壁
厨房小屋的人（通常是母亲）。他会引起剧烈腹痛，可能导致自然流产。

In the Prayer at Bartos, the Virgin entreats the Lord to send her the twelve hosts of angels to help her accomplish her
heart’s desire.

在《巴托斯祷文》中，圣母恳求主派遣十二位天使帮助她实现心中的愿望。

This image is remarkable for its placing of three cool colors (blue, violet, black) in contrast to the warm red of the face. The
red ground darkens toward the edges of the parchment where it picks up bluish tints.

这幅图像的特别之处在于它使用了三种冷色调（蓝色、紫色和黑色），与脸部的暖红色形成鲜明对比。在羊皮纸的边
缘，红色的底色逐渐变暗，并逐渐呈现出蓝色的色调。
PLATE 33 图 33

Guardian Angel 守护天使

This image is intended to protect its owner against nocturnal fears and nightmares.

该图像旨在保护主人免受夜间恐惧和噩梦的侵扰。

The angel’s nose and mouth are drawn with a single line. A red aura separates the black hair from the sky behind it. The
robe is drawn in horizontal and vertical bands. The right sleeve is spread wide, while the left forearm is a simple black
diagonal. The angel is wearing baggy pants and curl-toed Muslim-style shoes.

天使的鼻子和嘴用一条线勾勒出来。红色光环将黑发与背后的天空隔开。长袍以横向和纵向带状绘制。右袖张开，左前
臂则是简单的黑色对角线。天使穿着宽松的裤子和穆斯林风格的卷趾鞋。

The robe is haloed in yellow, a symbol of the resplendent light of God’s angels. The angel stands against a dark sky scattered
with stars.

长袍上有黄色光环，象征着上帝天使的灿烂光芒。天使伫立在布满星星的黑暗天空中。

The borders are of slightly modified knotwork. There are eight eyes in the upper border and nine in the lower. They
symbolize the myriads of angels that continually sing the praise of God.

边框是略加修改的绳结。上边框有八只眼睛，下边框有九只眼睛。它们象征着无数不断歌颂上帝的天使。
PLATE 34 图 34

Susenyos Praying 苏塞尼奥斯祈祷

This picture is framed by the prayer of Saint Susenyos, of which the following is a summary: Susenyos is pursuing his sister
Werzelya on horseback. She has just killed his child. An old woman tells him that Werzelya has gone into a garden. He rides
in and sees her sitting under a bush, surrounded by demons. "Then he dismounted, turned his face to the East, knelt down,
stretched out his hands and prayed to God, saying: ‘My Lord Jesus Christ, Lord of all Christians, King of Israel, let Werzelya
fall into my hands that I may kill her and put an end to her destruction of children at their mothers’ breasts, to her accosting
women and their husbands, for I am here as witness to thy holy Name.’ As he was praying on the road, he heard a voice
from Heaven saying: ‘Saint Susenyos, I have heard your prayer and your request. God grants you the power to seize
Werzelya, to kill her, and to do with her what you will.’ When Susenyos heard these words, he was greatly cheered. He
mounted his horse, took his lance in his right hand . . . "Thus, he kills Werzelya, who says as she dies: “I will not accost the
child for whom your book is read; nor any who carry your prayer, man, woman, child, young man or old, will I accost.”

这幅画的背景是圣苏塞尼奥斯的祈祷文，内容摘要如下：苏塞尼奥斯骑马追赶他的妹妹维尔泽利亚。她刚刚杀死了他的
孩子。一位老妇人告诉他，维尔泽莉亚进了花园。他骑马进去，看到她坐在灌木丛下，周围都是恶魔。"然后他下了马，
面朝东方，跪了下来，伸出双手，向上帝祈祷说：'我主耶稣基督，所有基督徒的主，以色列的王，请让维尔泽利亚落入
我的手中，让我杀死她，结束她对母亲乳房里的孩子的摧残，结束她对妇女和丈夫的讪笑，因为我在这里为你的圣名作
证。当他在路上祈祷时，他听到了来自天堂的声音：'圣苏塞尼奥斯，我听到了你的祈祷和请求。上帝赐予你权力，让你
抓住维尔泽莉亚，杀死她，并随心所欲地处置她。苏塞尼奥斯听了这些话，非常高兴。他骑上马，右手握住长
矛......。"就这样，他杀死了维尔泽莉亚，维尔泽莉亚死时说："我不会和为你读过书的孩子搭讪；也不会和任何带着你的
祷文的人搭讪，无论男女老幼。"

Susenyos is shown in prayer. The disproportion of his arms signifies that he is praying to God to grant him victory over the
demoness. As in other pictures, the mass of his body is suggested by an X.

图中的苏塞尼奥斯正在祈祷。他的双臂不成比例，表明他正在祈求上帝赐予他战胜女恶魔的力量。与其他画像一样，他
身体的重量用一个 X 表示。

The image of the demoness is reduced to certain significant features: snakes’ coils and eyes (in other works by this dabtara
the demoness’s eyes are portrayed in the same fashion). The Cross, ordinarily drawn on the forehead, seems more like a
crown here. The blankness of her face is contrasted to the fullness and color of the Saint’s face.

女魔头的形象被简化为几个重要特征：蛇的盘绕和眼睛（在该达布塔拉的其他作品中，女魔头的眼睛也是以同样的方式
描绘的）。通常画在额头上的十字架在这里更像是一顶皇冠。她脸上的空白与圣人脸上的饱满和色彩形成了鲜明对比。

The painter has drawn a profusion of arcs around the two figures. Do they symbolize light? Because of the law of contrasts,
they have the effect of imparting more force and steadiness to the figures (see Plate 28).

画家在两个人物周围画了大量的弧线。它们象征着光吗？由于对比法则的存在，这些弧线的效果是使人物更加有力和稳
重（见图版 28）。
PLATE 35 图 35

Satan Imprisoned 被囚禁的撒旦

The first two images in this scroll, done in the style of the second school of Gondar, portray an angel killing a demon and
Christ blessing Susenyos. In other scrolls as well, the same painter has portrayed four angels holding Satan in prison with
the aid of the Cross, and Susenyos praying. In these images, figuration and meaning are perfectly combined.

这幅画卷的前两幅画采用了贡德尔第二画派的风格，分别描绘了天使杀死恶魔和基督祝福苏塞尼奥斯的画面。在其他画
卷中，同一位画家还描绘了四位天使借助十字架将撒旦囚禁，以及苏塞尼奥斯祈祷的画面。在这些图像中，形象和意义
完美地结合在一起。

This picture, of talismanic origin (the eight-pointed star), represents Satan locked in his prison. Similar motifs show a
horned devil in chains instead of a face. Here the edges of the face are rounded, and there are repetitions and variations in
thickness of line in the drawing that follow the technique of religious painters as opposed to the drawing in the previous
talismans. The double lines of the “star” in Plate 9 are enlarged and formed into interlacing bars. Their red borders suggest
thickness and separate the yellow of the bars from the pale green ground. The X’s above and below are seals that both bind
Satan and undo spells.

这幅画源自护身符（八角星），表现了被关在监狱中的撒旦。类似的图案表现的是一个被锁链锁住的长角魔鬼，而不是
一张脸。在这里，脸部的边缘是圆形的，画中线条的重复和粗细变化遵循了宗教画家的技法，而不是之前符箓中的画
法。图版 9 中 "星 "的双线被放大并形成交错的条形。红色的边框暗示了条纹的粗细，并将条纹的黄色与淡绿色的底色区
分开来。上方和下方的 "X "代表封印，既能束缚撒旦，也能解除咒语。

The knotwork in the upper and lower borders has been laboriously executed using X’s (above) and a broken line (below).

上下边框的绳结是用 "X"（上图）和折线（下图）费力完成的。

The painter has used two reds, a bright red for writing the initial formulae and a brownish red for the painting and the
name of the client, Ehtä Maryam Täyma.

画家使用了两种红色，一种鲜红色用于书写最初的公式，另一种棕红色用于绘画和客户的名字--Ehtä Maryam Täyma。

PLATE 36 图 36

The Cross between Michael and Gabriel

米迦勒与加百列的十字架

This painting and the next three are taken from a scroll dating back to the 1800s. The Prayer for Undoing Spells written on
the manuscript contains a long list of districts in the Tigray province: “Undo spells in Endärta and Tseraé and Atsmi and
Dära and Nob; undo spells in Agamya and Harämat. . . .” Therefore, this scroll must come from that province. All the
paintings are figurative, although they are not direct illustrations of the prayers.

这幅画和接下来的三幅画都取材于 19 世纪的一幅卷轴。手稿上的 "解咒祈祷文 "列出了提格雷省的一长串地区："在

Endärta 和 Tseraé 以及 Atsmi 和 Dära 和 Nob 解咒；在 Agamya 和 Harämat 解咒。. . ."因此，这幅画卷一定出自该省。
所有画作都是具象的，尽管它们不是祈祷文的直接插图。

The Cross, related in form to the one in Plate 2, is surmounted by the inscription: “Cross of Jesus of Nazareth, King of the
Jews.” Above on either side are cherubim whose wings are crossed because they cannot look at the divinity: “He whom
neither Seraphim nor Cherubim could look upon was not ashamed to bear the shame.” Over the cherub on the left the word
alfa is written (“the Cross is alpha and omega, it is the first thing and the last” - an adaptation from Revelation 1:8). The
word sawn written over the cherub on the right cannot be precisely interpreted. Michael stands to the right of the Cross and
Gabriel to the left. The text of the Rampart of the Cross says: “All the hosts of angels, who have six wings and many eyes,
praise the Cross. The Seraphim and Cherubim who are formed by the flames of its force praise the Cross. Michael and
Gabriel praise the Cross. Urael and Raphael praise the Cross. Sadakyal and Salatyal give thanks to the Cross. Ananyal and
Suriyal, those who are the seven archangels, worship the Cross. Ninety-nine thousand thousands and the myriads upon
myriads of angels give thanks to the Cross.” And further on: “The Cross is the clothing of the angels and their staff, the
Cross is the tunic of the angels, the Cross; and their insignia is the Cross. In the same way let me lift my arms in imitation of
the Cross.”

十字架的形式与图版 2 中的十字架相似 上面刻着 "犹太人之王 拿撒勒人耶稣的十字架"犹太人之王拿撒勒人耶稣的十字

架"。两侧上方是基路伯，他们的翅膀是交叉的，因为他们无法看到神："撒拉弗和基路伯都不能注视的神，却不以承受
耻辱为耻"。左边的基路伯头上写着 alfa（"十字架是阿尔法和欧米茄，是最初的，也是最后的"--改编自《启示录》
1:8）。右边小天使上写的锯字无法准确解释。米迦勒站在十字架的右边，加百列站在左边。十字架护栏》中写道："所有
天使，有六个翅膀和许多眼睛，都赞美十字架。由十字架力量的火焰所形成的蛇身天使和基路伯天使赞美十字架。米迦
勒和加百列赞美十字架。乌拉尔和拉斐尔赞美十字架。萨达克亚尔（Sadakyal）和萨拉特亚尔（Salatyal）感谢十字架。
阿那亚尔和苏里亚尔，即七位天使长，向十字架顶礼膜拜。九万九千和无数的天使向十字架致谢"。还有"十字架是天使
的衣服，是他们的杖，十字架是天使的外衣，是十字架；他们的徽章是十字架。同样，让我举起双臂，效仿十字架"。

Adam, an inscription tells us, is shown at the foot of the Cross. With the Cross, the Lord abolished the Devil’s bitter counsel
and softened it in the hearts of the faithful. God enjoined Adam to tell his descendants to take his body to Jerusalem, the
center of the world (Life of Adam). The upper and lower borders are knotwork transformed into a frieze of Crosses and
birds.

碑文告诉我们，亚当就在十字架脚下。主用十字架废除了魔鬼的苦口婆心，并在信徒心中软化了它。上帝嘱咐亚当告诉
他的后代将他的遗体带到世界的中心耶路撒冷（《亚当的一生》）。上下边框是由十字架和飞鸟组成的楣饰。
PLATE 37 图 37

King Alexander the Great

亚历山大大帝

The legend of Alexander the Great became popular through the book of the pseudo-Callisthenes, written in Egypt (?)
around the beginning of the Christian era. The Ethiopians have added a version of their own which makes him into a chaste
and Christian king. The prayers on scrolls contain the magic words he spoke among the Anthropophagi and in the land of
the Centaur and the Dragon, and among the twelve tribes with animal faces that were subject to Gog and Magog. To contain
these nations, he closed the entry to their territories with a door sealed by talismans. On the prescribed day the door will
open, and these hordes will devastate the earth.

亚历山大大帝的传说通过伪卡利斯提尼（Callisthenes）一书而广为流传，该书大约写于基督教时代之初的埃及（？埃塞
俄比亚人在书中加入了自己的版本，将他塑造成了一位贞洁的基督徒国王。卷轴上的祷文包含了他在人面兽、半人马和
龙的国度，以及受哥革和玛革控制的十二个兽面部落中所说的神奇话语。为了控制这些国家，他用符咒封住了他们领土
的入口。到了规定的日子，这扇门就会打开，这些部落将对地球造成毁灭性的破坏。

Alexander (Eskender), identified by an inscription, is seated on his divan between a canopy bearer and a standard bearer.
In his right hand he holds the cloth that is the sign of his royalty, and with his left he commands the demons to depart. He
wears a two-horned crown with a Cross on top. Since Solomon, in the next picture, is wearing the same crown, we cannot
connect its particular form to Alexander’s Arabic surname - “the Two-Horned.”

亚历山大（埃斯肯德）通过碑文辨认出，他坐在自己的神台上，位于一名天篷手和一名标准手之间。他右手拿着象征王
权的布条，左手命令恶魔离开。他头戴双角皇冠，上面有一个十字架。由于下一幅图中的所罗门也戴着同样的王冠，我
们无法将其特殊形式与亚历山大的阿拉伯姓氏--"双角 "联系起来。

There are various objects before the throne: musical instruments (large and small drums, trumpets, flutes), an ewer and a
cup, some flagons. There is no known legend that explains why all these objects have been brought together (or why
stringed instruments are left out), although there are certain well-known connections between Alexander and musical
instruments: he had drums beaten and trumpets sounded during magical rites before going on campaign, and he once
besieged a city of musical automatons. We may note, however, that this image (the second in the scroll) celebrates the
temporal power of Alexander while the one in Plate 39 (fourth in the scroll) celebrates his spiritual virtues.

王座前摆放着各种物品：乐器（大鼓、小鼓、喇叭、笛子）、一个炖盅和一个杯子，还有一些旗壶。尽管亚历山大与乐
器之间存在着某些众所周知的联系：他在出征前的魔法仪式上击鼓吹号，他还曾围攻过一座由音乐自动装置组成的城
市，但没有任何已知的传说可以解释为什么要把所有这些物品放在一起（或者为什么没有弦乐器）。不过，我们可以注
意到，这幅图像（卷轴中的第二幅）颂扬的是亚历山大的世俗权力，而图版 39 中的图像（卷轴中的第四幅）颂扬的是他
的精神美德。
PLATE 38 图 38

How Solomon Killed the Demon-Blacksmiths' Kings (inscription)

所罗门如何杀死恶魔铁匠之王（碑文）

Solomon, on horseback, fights against Mäzhab, Shämhurish, Bärqan, and Mäymun. Their title, “demon-blacksmiths’
kings,” links them to the figures in the prayer known as the Net of Solomon, which is summarized in the Introduction. They
are known in Ethiopia only through the cycle of legends about Solomon; therapeutic practice attributes no particular illness
to them. On the other hand, they are very popular in Islam, where they appear on lists of kings of the djinns. Legends say
that Solomon subdued them and forced them to carry his throne.

所罗门骑在马背上，与麦扎布、沙姆胡里什、拜尔干和麦蒙作战。他们的称号 "恶魔铁匠之王 "将他们与《所罗门之网》

祷文中的人物联系起来，《所罗门之网》祷文在导言中作了概述。在埃塞俄比亚，人们只是通过有关所罗门的传说才知
道他们；治疗实践并没有将他们归咎于特定的疾病。另一方面，它们在伊斯兰教中非常流行，出现在精灵王的名单上。
传说所罗门征服了他们，并强迫他们扛起他的王座。

The King wears a two-horned crown with a Cross on top, similar to Alexander’s. His horse is adorned with a pointed neck
ornament of a kind once common in Ethiopia. Solomon is barefoot, in the Ethiopian fashion, as is Saint George in Plate 16.
The portrayal of Solomon as a knight is unusual in Ethiopia, where he is ordinarily shown as an enthroned king (Plate 11)
served by humans and demons (Plate 27). The knights commonly portrayed on scrolls are Saint Susenyos, Saint George,
and occasionally Saint Claudius (Gäläwodéwos) who defeated the centaur. On Greco-Egyptian amulets, on the other hand,
Solomon was portrayed as a knight and because of that was often confused with Sicinnius. Equestrian statues of emperors
came into fashion in the same period.

国王头戴双角皇冠，上面有一个十字架，与亚历山大的类似。他的马颈上饰有尖尖的颈饰，这种颈饰曾在埃塞俄比亚很
常见。所罗门光着脚，与图版 16 中的圣乔治一样，都是埃塞俄比亚式样。将所罗门描绘成骑士在埃塞俄比亚并不常见，
在埃塞俄比亚，他通常被描绘成一个高高在上的国王（图版 11），由人类和恶魔（图版 27）服侍。卷轴上常见的骑士形
象是圣苏塞尼奥斯（Susenyos）、圣乔治（George），偶尔还有打败半人马的圣克劳狄乌斯（Gäläwodéwos）。另一方
面，在希腊-埃及护身符上，所罗门被描绘成一名骑士，因此经常与西西涅斯混淆。同一时期，皇帝的骑马雕像也开始流
行起来。

The demons are armed with curved swords and shields of hippopotamus hide. Their misshapen faces are shown in profile,
following the iconographic rule of religious art.

恶魔们手持弯刀，身披河马皮盾牌。它们畸形的脸部呈侧面，遵循了宗教艺术的肖像规则。
PLATE 39 图 39

How King Alexander Entered the Land of the Eternal Aided by a Bird's Mouth

亚历山大国王如何借助鸟嘴进入永恒之地

The legend of Alexander’s ascent to Paradise was widespread in the ancient world. It was inspired by older stories of
ascensions with the aid of a bird. Wishing to visit Paradise, Alexander decided to breed a mare with a stallion in unusual
circumstances. He put fresh meat on a stone next to the mare. Eagles and other birds of prey, seeing the meat, gathered in
great numbers, wheeling overhead and darkening the sky. While this was going on, the mare was bred. She gave birth to a
hybrid-a carnivorous, winged quadruped with a feathered tail. It is called neser, like other birds of prey. Alexander took
great care of the animal and fed it himself with a baited stick. When the bird was full-grown, the King wanted to make it fly.
Holding the baited stick in one hand, he mounted on its back. The bird, seeing the meat in front of it, started to fly in an
effort to reach it, and carried his rider high in the air. Alexander trained him to go higher and higher, and when he thought
the neser was strong enough, decided to fly to Paradise. He made the creature fast for forty days. Then, taking ample
provisions, he mounted the neser, who was so hungry that he took off instantly after the meat. They flew higher than ever
before and passed through the Land of Darkness at the edge of the world (the “angel of darkness” shown in the picture
holds the mountain that surrounds the world-i.e., the horizon-in his hands). Finally, Alexander reached Paradise, suggested
by the trees in the picture. There, he spoke with the wise men Enoch and Elijah, whom God had saved from death by
carrying them off to Heaven. They are shown sitting on cushions and holding their writings in their hands (the invention of
writing and astronomy is attributed to Enoch). The Christian Romance of Alexander describes them thus: “Their faces were
white as the flower of the rose, their hair was whiter than milk, their eyes shone like the morning star.” They say to
Alexander: “Blessed be you, for you have become a dwelling-place for the Holy Spirit through the purity of your body. You
prefer the things of Heaven and have rejected the passions of the flesh.”

亚历山大登上天堂的传说在古代世界广为流传。它的灵感来源于古老的借助鸟类升天的故事。亚历山大想去天堂，他决
定在不寻常的情况下让一匹母马与一匹公马配种。他把鲜肉放在母马旁边的石头上。老鹰和其他猛禽看到肉后，纷纷聚
集过来，在头顶盘旋，天空顿时暗了下来。就在这期间，母马被配种了。它生下了一个混血儿--一种肉食性、有翅膀、尾
巴有羽毛的四足动物。和其他猛禽一样，它被称为 "neser"。亚历山大悉心照料这只动物，并亲自用一根带饵的棍子喂
它。鸟长大后，国王想让它飞起来。他一手拿着带饵的棍子，骑在鸟背上。鸟儿看到眼前的肉，就开始飞起来，努力想
吃到肉，并把它的骑手带到了很高的空中。亚历山大训练它越飞越高，当他认为这只鸟已经足够强壮时，决定飞往天
堂。他让这只鸟禁食了四十天。然后，他带着充足的食物，骑上鹞子，鹞子饿极了，吃完肉就立刻飞走了。他们飞得比
以往任何时候都高，穿过了世界边缘的黑暗之地（图中的 "黑暗天使 "手中握着环绕世界的山峰，即地平线）。最后，亚
历山大到达了天堂，图中的树木就是天堂的象征。在那里，他与智者以诺和以利亚交谈，上帝将他们从死亡中拯救出
来，带他们去了天堂。他们坐在垫子上，手里拿着自己的著作（文字和天文学的发明归功于以诺）。 《亚历山大基督教
罗曼史》这样描述他们："他们的脸白得像玫瑰花" "他们的头发比牛奶还白" "他们的眼睛像晨星一样闪亮"他们对亚历山
大说"你是有福的，因为你的身体纯洁，成为了圣灵的居所。"你喜欢天国的事物 摒弃了肉体的激情"

PLATE 40 图版 40

Angels of the Four Directions

四方天使

This image is recognizably a development of the eight-pointed star in Plate 19.

这幅图明显是图版 19 中八角星的发展。

Here the image tends toward formal perfection. A double movement animates it: expansion following the four vertical and
horizontal arms and the angels’ heads, and penetration following the four diagonal points. We have noted in the
Introduction, with reference to other pictures, that the former are the directions of the Cross (i.e., of a body with
outstretched arms), and the latter the direction of the penetrating gaze. The black lobate curve articulates this double
movement here, so that it appears to begin from a circular form. The eyes of the central face are placed on the transversal
axis. If we consider the genesis of this picture through related motifs, we will note that what have become here the radiating
points of the central face were originally parts of the angels’ clothing. They have been separated from the collar and shifted
toward the center, for purely formal reasons.

画面在形式上趋于完美。双重运动使画面充满活力：四条纵横交错的手臂和天使的头向外扩张，而四个对角线点则向内
渗透。我们在导言中提到，参照其他画作，前者是十字架（即伸出手臂的身体）的方向，后者是穿透性凝视的方向。黑
色的叶状曲线在这里衔接了这种双重运动，因此它似乎是从圆形开始的。中央面部的眼睛位于横轴上。如果我们通过相
关的主题来考虑这幅画的起源，我们会注意到，在这里成为中央脸部的放射状点原本是天使衣服的一部分。出于纯粹的
形式原因，它们被从衣领中分离出来，移向中心。
The Virgin’s Prayer at Bartos says: “Come, you four angels who hold up the four corners of the world and who are called
Fertiyal, Ferfay, Fumael and Fananyal.” The winged faces are the angels of the four directions. Who are they guarding? The
hidden face of the divine? The owner of the scroll? Satan in prison? All of these explanations are current among dabtaras
who make such pictures.

巴托斯的圣母祷文中写道："来吧，你们这四位天使，他们支撑着世界的四个角落，他们被称作费尔蒂亚尔、费费、费马
埃尔和费纳亚尔"。长着翅膀的面孔是四方的天使。他们在守护谁？隐藏的神面？卷轴的主人？监狱中的撒旦？所有这些
解释在制作此类画作的达布塔拉人中都很流行。