Cassandra022
tempting :0
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original Xultun re-published
KhonsuMes
Replacement Trump 14 is coming.
Therese at Kahurangi Press replied and a replacement card is on its way.
Kudos to Kahurangi for quick and excellent remediation!
Matt
Therese at Kahurangi Press replied and a replacement card is on its way.
Kudos to Kahurangi for quick and excellent remediation!
Matt
Sumada
Le Fanu said:In the companion pictures (i.e The Wheel), the new edition looks paler than the 1976 version...
Yup it is. I have got the images correct; the new cards ARE on the right. However, when using the new deck on its own there is no feeling that the majors are paler than the minors.
Sumada
KhonsuMes said:My 2 Xultun reprint decks just arrived from New Zealand!
Glad I ordered two, by the way. One has no trump 14 (Temperate Man) card and 2 trump 15 (Bound Man) cards.
Ooops! I too suffered a similar little glitch, but Therese was most apologetic and sent out the replacement card immediately. I'm sure these teething problems are all over now!
KhonsuMes
Side by side..
Well, I have gotten around to doing a compare on the decks.
Haven't been able to dig up my copy of the 2nd 1976 version (the one with four languages), so these impressions are just from the 1976 1st edition and the new reprint:
The new print is a wonderful work - It has been a lot of fun looking at the decks side by side.
Cardstock is ever so slightly thicker in the new version: Deck thickness is 1.1 in 1st edition, 1.16 or 1.17 in the new print.
There is a tendency overall for the painted fields (backgrounds and the like) to become more uniform. The original has a lot of visible brushwork and washovers that get considerably smoothed out in the new deck. There seems to be a tendency as well for the color of the overpainting to shift toward the background (III Consort - wash over the sun in background goes from grey to brownish yellow). This all gives the visual impression of the new deck being a bit 'softer' in the fine details.
The colors in the majors lighten, as we see in Sumada's picture of XVIIII Sun above in this thread. This is in both white level and in hue - reds pull to orange, earthtone yellows become more lemony. Skin tones become less brown and more flesh or orange-ish. Pinks and purples become less blue.
But, the lightening is not entirely consistent: An interesting card to look at is XIII (Dead Man): Here there is a strong red background in the upper portion in the original that turns into a mostly orange field, with part of the region staying red. At the same time, the greens on the card get deeper, and lose a yellowish tinge to become more emerald.
Grey blacks become brown in hue, especially the hieroglyphs in the majors. This is the case to a lesser extent in the card titles of the minors.
In contrast to the majors, the background fields in the minors become more saturated. Pale yellow and turquoise gets a lot brighter. The turquoise and yellow backrounds are most modified, the green the least modified.
In the case of the turquoise cards (Cups), the greater background saturation is accompanied by a strong evening of the color. They look less painted, more 'posterized'. This does not mean that all the card backgrounds are the same turquoise. The backgrounds vary a lot from card to card, just as in the original. I think this is a very good thing - the variations between cards are one of the things that makes this deck so dynamic and alive.
Well, although my notes may sound hyper-critical, the new deck is indeed lovely and is very strong work. I think the subtlety of the differences is in fact a testament to the great effort that has gone into producing this new edition of the Xultun Tarot. Kudos to Kahurangi Press for giving so many more tarot people the chance to experience this deck.
Well, I have gotten around to doing a compare on the decks.
Haven't been able to dig up my copy of the 2nd 1976 version (the one with four languages), so these impressions are just from the 1976 1st edition and the new reprint:
The new print is a wonderful work - It has been a lot of fun looking at the decks side by side.
Cardstock is ever so slightly thicker in the new version: Deck thickness is 1.1 in 1st edition, 1.16 or 1.17 in the new print.
There is a tendency overall for the painted fields (backgrounds and the like) to become more uniform. The original has a lot of visible brushwork and washovers that get considerably smoothed out in the new deck. There seems to be a tendency as well for the color of the overpainting to shift toward the background (III Consort - wash over the sun in background goes from grey to brownish yellow). This all gives the visual impression of the new deck being a bit 'softer' in the fine details.
The colors in the majors lighten, as we see in Sumada's picture of XVIIII Sun above in this thread. This is in both white level and in hue - reds pull to orange, earthtone yellows become more lemony. Skin tones become less brown and more flesh or orange-ish. Pinks and purples become less blue.
But, the lightening is not entirely consistent: An interesting card to look at is XIII (Dead Man): Here there is a strong red background in the upper portion in the original that turns into a mostly orange field, with part of the region staying red. At the same time, the greens on the card get deeper, and lose a yellowish tinge to become more emerald.
Grey blacks become brown in hue, especially the hieroglyphs in the majors. This is the case to a lesser extent in the card titles of the minors.
In contrast to the majors, the background fields in the minors become more saturated. Pale yellow and turquoise gets a lot brighter. The turquoise and yellow backrounds are most modified, the green the least modified.
In the case of the turquoise cards (Cups), the greater background saturation is accompanied by a strong evening of the color. They look less painted, more 'posterized'. This does not mean that all the card backgrounds are the same turquoise. The backgrounds vary a lot from card to card, just as in the original. I think this is a very good thing - the variations between cards are one of the things that makes this deck so dynamic and alive.
Well, although my notes may sound hyper-critical, the new deck is indeed lovely and is very strong work. I think the subtlety of the differences is in fact a testament to the great effort that has gone into producing this new edition of the Xultun Tarot. Kudos to Kahurangi Press for giving so many more tarot people the chance to experience this deck.
Sumada
#16
Have you noticed that #16, The Divided Man, has become the Released Man?
Have you noticed that #16, The Divided Man, has become the Released Man?
AJ
curious if this is an authorized reprinting? thank you
strings of life
Yes, it is. The full story is here: http://www.xultun.com/story.htmlAJ said:curious if this is an authorized reprinting? thank you
For the new 2010 edition Kahurangi Press have faithfully reproduced the cards in their original size and vivid colours. In cooperation with Peter Balin they have redesigned the back of the cards (in cinnabar red with a new feathered serpent design) and the box (green with a blue feathered serpent encircling it).
AJ
thank you
KhonsuMes
Sumada said:Have you noticed that #16, The Divided Man, has become the Released Man?
Not till you just pointed it out!
I took a quick skim in Michael Owen's book and no explanation of the change popped out. ( I might have missed it. Only just embarking on the read).
In 'The Feathered Serpent', Peter Balin writes of the two figures falling from the tower as 'representing the right and left hemispheres of the brain'. He also refers to dividing like this: 'One divides to secure a piece of the pie - having the piece one wants, one releases the other piece'.
Owen's book doesnt seem to relate the two figures specifically to a division or a choice, but does see the card as having a lot to do with the division between spirit and matter, paying attention to the two lightning bolts..
I wonder what triggered the rethinking of the symbolism?
