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Kundalini and the Tower of Babel

Kundalini and the Tower of Babel

Forever in search of health, good sex and longevity, the masses have discovered the mysterious kundalini shakti of the yogi. Books and 1-day workshops with titles such as ‘Becoming supernatural’ are in great demand, and anyone interested can participate in kundalini yoga classes without prior screening or in-depth explanations of the purpose and dangers of exercises aimed at awakening the kundalini energy.

Certainly, the kundalini has a healing, vitalizing and purifying character, but awakening her does not only have positive effects. The goddess in our pelvis has many faces: she is the mother and the virgin, the widow and the bride, the comforter and the destroyer. Whoever wakes her up from her sleep too roughly, or prematurely, has to deal with Kali, the Hindu goddess of death and destruction!

Healing

Myths, such as those of Hinduism, Ancient Egypt and the Ancient Greeks, are narratives about forces in the outside world and – not everyone realizes this – in our inner world.

The symbol of healthcare organizations and medical practice is derived from the caduceus, the staff of the Greek god Hermes. The caduceus is also the universal symbol of a kundalini awakening. The staff itself represents the spine, the two serpents are the polar energy channels that merge during an awakening, and the wings symbolise an expanded consiousness.

The serpent, with its ability to renew itself through shedding its skin, is seen in almost all traditions as a symbol of the kundalini energy. The healing effect of the kundalini, however, is mainly energetic. For a union with God, the energy must flow unhindered, like in a young child:

Verily, I say to you, unless you change and become like children, you will certainly not enter the kingdom of heaven. (Gospel of Matthew 18:3)

A kundalini awakening does not cure chronic illnesses or other physical distress!

The Greek god Hermes
with his staff the caduceus

The Hindu goddess Kali

Purification

One of the goddesses who represent the purifying effect of the kundalini energy is the Hindu goddess Kali. Her appearance is frightening: dark skin, wide-open eyes, wildly swinging arms with one or more bloody weapons, and a chain of severed heads around her neck. Like a (kundalini) serpent, she uses her protruding tongue to detect (smell) impurities.

Despite her fearsome appearance, she is loved by the Hindus, because her intentions come from a loving mother’s heart. Her goal is to free us from our ego (symbolized by the severed heads).

The wild and angry Kali is an apt metaphor for the first phase of a kundalini awakening, which can last for years! The severity of the symptoms you experience depends on how many unprocessed issues lie dormant in the unconscious, and the purity of your lifestyle. For the average western person it involves a major cleaning job. Bigger than most people realize!

A kundalini awakening is hard on body and mind. The spiritual seeker who longs for God will be happy to endure it. However, advising people with health issues to wake up their kundalini as a solution to their medical problems is misleading – the healing is mainly mental – and downright dangerous!

Kundalini and sex

Upon awakening, the kundalini can be channeled through any chakra. It flows automatically to the chakras that require energy. If someone is focused on sexual pleasure, the kundalini will stay lingering at the second chakra, instead of ascending to its final destination, the crown chakra. If someone is strongly ego-oriented, the energy will feed the third chakra.

In this regard, the kundalini can indeed intensify sensory experiences, enhance your energy level, and open the door to the supernatural. But this divine energy is not intended for this purpose, and this is the reason why the knowledge of this energy source has always been hidden from the general public. Only spiritual aspirants with a pure intention and lifestyle were initiated by teachers in the techniques that can awaken the kundalini.

Right: The goddess Tara (Nepal, 18th century) is closely related to Kali in her destructive form. Around her waist she wears a panther skin, symbolizing the conquered animal instincts, including the sexual urges. The tail of the panther skin rests on the abdomen of the reclining man: Tara’s abode in man. The fire around Tara and the man depicts the inner kundalini fire that burns everything that stands between man and God. The man’s nakedness represents his purified ego.

Sacred energy

It is very naive to assume that using this sacred energy for any purpose other than that for which it is intended will remain without repercussions; medical, spiritual or karmic. Misusing the divine will not go unpunished. The Bible story about the Tower of Babel warns against this.

Many Bible stories are not intended to be taken literally. They are metaphors for inner spiritual processes. This also applies to the well-known story about man who wanted to build a tower up to heaven. The deeper meaning of Bible texts is hidden in subtle word choices and sentence structures. In my book Kundalini Awakening I have included five pages with an analysis of the Tower of Babel. I will summarize the main points here.

Tarot card The Tower
is inspired by the Tower of Babel

Inner tower

The Tower of Babel is about man trying to awaken the kundalini fire and bring it, through the spine (the tower), to the seventh chakra (heaven). In other words, man wants to rise to the divine, motivated by the ego.

However, this gross self-overestimation has the opposite effect. Instead of ascending through the spine, the divine descends. This is literally stated twice in the text: in response to the audacious act of man, God comes down (Genesis 11: 1-9).

Also meaningful is the name Babel, which means Gate of God (Bab –El). The place at the bottom of the spine, where the kundalini begins its journey upwards, is called Brahma-dvara in the yoga tradition : the gate or door of Brahma. This door to God remains closed to man who has not yet done the required inner work.

The metaphor of speaking different languages refers to losing contact with the oneness of the divine. Instead, the inner world of mankind is divided into ego-fragments.

The moral of the story of the Tower of Babel is that the Kingdom of God cannot be acquired without His will. It is a road that you travel together with Him. The knowledge about the kundalini can only be found hidden in sacred texts. In the wrong hands it can lead to people insufficiently prepared and with the wrong motives forcing an access to this sacred energy. Jesus also notes this in the gospel of Matthew (11:12):

From the days of John the Baptist until now the kingdom of heaven suffers violence, and violent men take it by force.

This path should only be pursued with a heart purified from the ego’s desires for grandeur. Only for a person who is willing to die to himself does the gate to God open.

This article was published in the Dutch magazine Spiegelbeeld (March ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

By |2020-06-20T06:43:04+00:00May 3rd, 2020|Spiegelbeeld|Comments Off on Kundalini and the Tower of Babel

The Crucifix Code

The Crucifix Code

With his death on the cross, Jesus physically expressed the inner process of the death of the ego (“salvation”). The final stage of a kundalini awakening, where the old man is discarded (“dies”) and the new man, born again in God, “rises”.

Jesus himself had already completed this spiritual process, out of sight of the world. The Evangelists, on his behalf, and based on the esoteric teaching they had received from him, have written his life story as road map for the spiritual seeker’s inner journey to realize “the Kingdom of God.”

An explosive fact that can not only be found in the Bible, if you know how to read it, but has also been incorporated into countless Christian paintings by artists all over the world.

The Bible

In the Gospel of Luke, Jesus makes an intriguing reproach to the scribes:

“Woe to you lawyers! For you have taken away the key of knowledge;
you yourselves did not enter, and you hindered those who were entering.”
(Luke 11:52)

The word that Jesus uses for knowledge is the Greek gnosis. Gnosis is knowledge that is not obtained with the mind, but is based on experience. Spiritually speaking, gnosis stands for knowing God through direct experience. The knowledge of the heart.

The Pharisees hold the key to gnosis, Jesus says. They know the inner way to God, but they do not practise it themselves and they also prevent believers from “entering”. This key is the knowledge of what is called the kundalini in Eastern traditions. A power source of divine origin that is “sleeping” in our pelvis, at the level of the sacrum. The mystical branch of Judaism calls it Shekinah, the Gnostics Sophia, and Christians the Holy Spirit.

Jesus wanted to give this key to the Kingdom of God back to the believers. Not directly, because not everyone was ready to receive it, but concealed in metaphors and parables, “for those who have ears and want to hear”:

And the disciples came and said to Him, “Why do You speak to them in parables?” Jesus answered them, “To you it has been granted to know the mysteries of the kingdom of heaven, but to them it has not been granted.”
“Therefore I speak to them in parables; because while seeing they do not see, and while hearing they do not hear, nor do they understand.”  (Matthew 13:10,11,13)

Not only the Gospels, the entire Bible, from cover to cover, essentially is about our potential for spiritual awakening. The story of Adam and Eve from the book of Genesis narrates why the kundalini energy is inactive, or “asleep,”  in most people. The Book of Revelation, the last book of the Bible, is a visual description of a kundalini awakening. All other Bible stories of wars, tyrannical kings, cruel occupiers and brave heroes are descriptions of the universal struggle in all of us between the hypnotic powers of our lower, animalistic nature, and the call of our higher, divine nature, in which the kundalini has a main role.

The process of kundalini awakening

At the left and right of our spine, two major energy channels are located. In the yoga tradition their names are ida nadi and pingala nadi. These energy channels connect us to the opposites (duality) of creation. Where ida-nadi stands for the feminine, dark, cold, passivity, the moon, and feeling, pingala-nadi stands for the masculine, light, heat, activity, the sun, and thinking.

When the kundalini awakens at the sacrum, it rises through the sushumna nadi, the central energy channel in the spine. On the way to the upper chakra, the crown chakra, all other chakras along the spine are purified and activated.

At the sixth chakra, ida and pingala nadi merge, opening the so-called “third eye” on the forehead of the spiritual aspirant. The ego “dies” and divine light pours in through the open crown chakra. The yogi calls the expanded consciousness that man now experiences samadhi.

From one to two

At first there was on earth only Adam, living carefree in the Garden of Eden. This paradise is a metaphor for experiencing a living connection with God. Adam initially was androgyn; he was both male and female.

Then God creates Eve from a rib of Adam: this represents an inner division of Adam into a female and a male half. This split can be found on the physical level (two hemispheres with different functions), on the mental level (archetypal character traits) and the energetic level.

The dichotomy immediately has consequences: Eve persuades Adam to eat the forbidden fruits and they are both sent out of paradise (man loses connection with God).

The serpent that tempted Eve to eat the forbidden fruits is also punished by God. It must now crawl on its belly (Gen. 3:14). This is a reference to the kundalini energy that retreats into the pelvis (the belly).

Right: with his right hand Adam makes the secret sign of the sacred marriage (2 = 1). Eve’s middle finger on the tree trunk refers to the kundalini energy. This tree has only one fruit: the pineal gland. (Peter Paul Rubens, 1628, Museo Del Prado)

The new Adam

Jesus “lifted” the serpent again and the details around his crucifixion have to make this clear to us. He is “the new Adam.” After a completed process of kundalini awakening, he returned to a state of androgyny and united with God: I and the Father are one (John 10:30).

Jesus himself confirms this interpretation by referring to the story of Moses and the bronze serpent: And as Moses lifted up the serpent in the wilderness, so must the Son of man be lifted up… (John 3:14).

Left: with his fingers, Jesus makes the sign of
the sacred marriage (2 = 1): in him the polarities
have melted into the oneness of the divine.
(Domenico Feti, circa 1600, Bavarian State Museum)

Moses and the bronze serpent

During their forty-year journey through the desert, the people of Moses encounter poisonous serpents whose bites kill. God commands Moses to make a serpent out of bronze and put it on a pole. Whoever looks at the bronze serpent after being bitten remains alive (Numbers 21:4-9).

The Hebrew words translated to poisonous serpents – nachash saraph – literally means burning (fiery) serpents. These serpents of fire represent the kundalini or Holy Spirit. This bible story shows the consequences if the divine energy in the pelvis is used for the desires of the (lower) abdomen; for sensory gratification and superficial pleasure.

If the “fiery serpent”, upon awakening, is not led upwards, but remains in the pelvis and “burns” the belly (“burning desires”), it acts as a deadly poison for the soul. Man dies spiritually. However, if the serpent rises through the spine, to the higher chakra’s (“placed on a pole”), man “lives”.

With his statement that he must be lifted up, just as Moses lifted up the serpent, Jesus wants us to know that his crucifixion should be taken as a metaphor for a kundalini awakening. He will physically express this inner process of God-realization. He will make the dying of the ego and the inner “resurrection” visible to the eyes of the whole world. A horrifying spectacle that makes you wonder if we could not have been presented this spiritual teaching in any other way.

In any case, the inhuman suffering and death of Jesus has not missed its effect. It has left deep marks in our collective consciousness and has made Christianity a world religion.

Jesus and the (kundalini-)serpent of Moses.
(Peter Paul Rubens, early 17th century)

Jesus points with two fingers (the sign of the sacred marriage) to his head: here the merger of the opposites and the crucifixion takes place. (Luis de Morales, 1566, Museo del Prado, Madrid)

The sacred marriage

The masculine and feminine energies in man merge into oneness when the kundalini energy, rising from the pelvis, has arrived at the forehead. This fusion is also called sacred marriage because it leads to a union with God. Prior to this mystical completion, the kundalini purified the ego (a process of years) described in the Gospels as “the way of the cross.” During the sacred marriage, the ego permanently leaves the stage; the new god-man is born (the “rebirth”).

A first indication that we should interpret the story of Jesus’ crucifixion as something that takes place in the head of man, is the location of the crucifixion: Golgotha, which means Place of the Skull (John 19:17)!

In the Gospel of John we find some more clues. Hanging on the cross, Jesus orders his disciple John to take his mother into his home (John 19:27). This is a reference to the sacred marriage. The Greek source text of this quote does not include the word home. Literally translated, it says: the disciple took her with him. A carefully chosen formulation that should evoke the image of an merger of the masculine and feminine.

In the Gospel of Thomas, Jesus explicitly mentions this process:

Jesus said to them: When you make the two one, and when you make the inside as the outside, and the outside as the inside, and the upper as the lower, and when you make the male and the female into a single one, so that the male is not male and the female not female…
…then shall you enter [the kingdom]. (Saying 22)

In the esoteric traditions, the middle finger refers to the spine (the “center” of the body)
with the awakened kundalini energy. (Hans Holbein the Younger, 1521, Kunstmuseum Basel)

The spear

After Jesus has died on the cross, a soldier stabs him with a spear in his side (John 19:34). This too is a reference to an inner merger of the polarities, and goes back to the story of Adam and Eve. Jesus is stabbed with the spear in the same place where a rib was taken from Adam. Symbolically, the rib (Eva) is replaced: the state of androgyny is restored.

The two “criminals”

The two men crucified with Jesus – one on each side (John 19:18) – also depict the energies that sustain our dichotomy. Symbolically, in the crucifixion scene the inner duality (the two men) and the ego (Jesus) “die”.

These are just a few examples of the symbolism that pervades the life story of Jesus. The great secret of his kundalini awakening has been guarded through the centuries by a small group of initiates, artists and mystics. This “herecy” is hidden in countless Christian paintings.

An angel points to the head of Jesus: this is where the birth of the divine child takes place. (Hans Baldung, 1539, Staatliche Kunsthalle, Karlsruhe)

Peter Paul Rubens
(first half 17th century, private collection)

Mary Magdalene, to the right of the cross, shows with her hands the rising the kundalini energy from the pelvis to the head. (Stained glass, church unknown)

On this painting the sacred marriage is also expressed by combining the colors red (the masculine) and blue (the feminine): the clothing of the angels at Jesus’ left hand, and the clothing of Mary and John. Jesus’ loin cloth is shaped like a serpent (Josse Lieferinxe, ca. 1500, Louvre Museum)

The crucifix code

One of the ways in which artists have incorporated the deeper meaning of the crucifixion is with “the crucifix code”: Jesus hanging on the cross with one and / or two outstretched finger(s). He has made the two one; in him the sacred marriage has taken place.

Also in paintings with Jesus in a different context we see this “sign of the sacred marriage” (see above). When the middle finger is extended, this is a reference to the spine – which is in “the middle” of man – with the awakened divine energy flowing in it.

Whoever types “crucifixion Jesus” on google can easily find dozens of examples of paintings hanging in museums and churches all over the world. So many, that it is surprising that no one has noticed it before (as far as I know). Perhaps the drop of this article in our collective consciousness is going to cause a large ripple?

Juan de Juanes, 1550, Caylus Anticuario, Madrid

This article was published in the Dutch magazine Spiegelbeeld (Nov ’18)
Copyright Anne-Marie Wegh 2018

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

By |2020-06-20T06:43:23+00:00May 2nd, 2020|Spiegelbeeld|Comments Off on The Crucifix Code

Tarot 5. The Hierophant

5. The Hierophant

A hierophant is a high priest who leads religious celebrations. The ancient Greek word hierophantes is contraction of hieros (holy) and phainein (show, reveal). A hierophant is able to initiate others into experiencing the divine. This is, of course, only possible if he is connected to the divine himself, and this leads us to the meaning of the tarot card The Hierophant. It represents the person in whom the sacred marriage (Greek: hieros gamos ) has taken place. The (energetic) duality in him has merged. The Hierophant is rooted in the divine.

The title Hierophant was originally linked to the mysteries of Eleusis: an ancient Greek mystery tradition whose initiation rites were secret and still are a great mystery. Much later, this title was also applied to people in other situations and capacities. The Hierophant ended up in the tarot through the occult society The Golden Dawn.

The Pope

Card number 5 of the tarot was originally called The Pope. Arthur Waite replaced The Pope for The Hierophant in his Rider-Waite-Smith deck in 1909 and almost all of the tarot decks that followed hereafter took over. However, the deeper meaning of the card has always remained the same. Even when the card was still called The Pope, it represented the person in whom the sacred marriage had taken place.

On the Pope card of the 15th century Visconti-Sforza Tarot we see three references to the holy marriage: the two raised fingers of the Pope; the Greek cross (a cross with equal arms) at the top of its staff; and the hexagonal pattern on its garment, a derivative of the hexagram – the universal symbol for the union of opposites.

The Pope, like the Papess (card number 2), wears a pontifical (papal) tiara: a triple crown. Officially, the three crowns represent the triple power of the pope: priest, teacher, and king. Esoterically, a tiara stands for mastery over body, feeling and thinking.

The Pope of the Visconti-Sforza tarot (1454)

A hexagram

An illustration of the sacred marriage from the alchemical Book of the Holy Trinity (15th century). Man and woman are fused into an androgynous figure. The three crowns around the belly, chest and head represent mastery over the body (the animal instincts, the lower abdomen), feelings (heart) and the mind.

An illustration from the alchemical manuscript Speculum Veritatis, which is located in the library of the Vatican. The alchemist (left) has acquired a triple (the three crowns) kingship (mastership) over earthly matters. The triangle with the point up (the symbol for fire), with the fire in it, stands for the kundalini fire, which has purified the alchemist’s body, feeling and thinking (the three arrows), through which he has achieved this kingship. On the right we see an alchemical oven; symbol for the alchemist’s pelvis and spine, with the fire of the kundalini flowing in it. The three rings on the pipe and the three arrows on the flag represent body, feeling and thinking that are purified in the”oven”.

Charles VI tarot

The Charles VI, or Gringonneur, deck is also from the 15th century; designed for King Charles VI of France. The Pope card of this deck contains symbolism that refers to a kundalini awakening.

Two energy channels run along the left and right side of the spine. They are called ida and pingala nadi in the yoga tradition. During a kundalini awakening, these energy channels fuse at the height of the forehead. During this process the pineal gland – in the middle of our head – is activated. The two cardinals next to the Pope symbolize these two energy channels. Their crossed hands represent the fusion, just like the two keys (of the Kingdom of Heaven), which the Pope holds upright against each other.

Charles VI deck (15th century)

Pope Leo VII
(pope from 936 to 939, image from 1842)

     The pineal gland

The designer of this card did not opt ​​for the papal tiara with three crowns that was common at the time, but for one of the very first variants, which was worn until the 12th century, with only one crown. I think because this crown – even more than the tiara – emphasizes its pineal gland shape. It has also given the artist the opportunity to add a pine cone pattern to the crown.

Probably not coincidentally also, is the color of the clothing: red (clothing cardinals) and blue (clothing pope). These two colors are traditionally associated with, respectively, the male energies (heat, fire, the sun) and the female energies (coolness, water, the moon) in humans.

Left: the two ribbons on the back of the papal crown (the so-called infulae) represent the two energy channels that activate the pineal gland during their fusion.

France 17th century

From the 17th century onwards, to reinforce the symbolism of the union of opposites, two pillars were added in the background to the Pope card, and two lower-ranking clergymen in the foreground. The left figure on the Pope card of Jacques Viéville makes, just like the Pope himself, the sign of the sacred marriage.

The so-called “Tarot anonyme de Paris” has, for that time, the most exciting version of the Pope. An enormous key is placed on his lap and reaches to the tip of his tiara. This symbolizes the awakened kundalini energy in his spine: the “key” to the Kingdom of God. Two fingers – the sign of the sacred marriage – rest on his staff. This also represents his spine. The Pope looks at a sphinx and a small pyramid next to him. A sphinx – a lion’s body with a woman’s head – symbolizes mastery over the animal instincts. The pope is wearing clothes in the colors red (male) and blue (female).

Tarot de Paris, Jacques Viéville (1650)

Tarot de Marseille, Pierre Madenié (1709)

Tarot anonyme de Paris (17th century)

The Oswald Wirth Tarot

Oswald Wirth lowers the two pillars behind the Pope, giving the composition of the card – Pope, two pillars, and two figures in the foreground – the shape of a pentagram; the symbol for the “completed person”. On this card also, the figure on the left makes the sign of the sacred marriage with his hand.

Oswald Wirth (1889)

From H. C. Agrippa’s Libri tres
de occulta philosophia

The Rider-Waite-Smith Tarot

Arthur Waite changes the name of tarot card number 5 to The Hierophant, but the image remains largely the same: a pope with tiara, two pillars and two lower-ranking clergymen. New are the elements from alchemy that refer to the sacred marriage – the union of the red king and the white queen: the color red and white of the pope’s canopy, and the roses (red) and lilies (white) on the clothing of the figures in the foreground.

The Rider-Waite-Smith Hierophant (1909)

Pope Gregory I (540-604)

A 17th century etching with alchemists who are working diligently in their (inner) garden. The six flowerbeds represent the first six chakras (at the sixth chakra the sacred marriage takes place). In the back stands a (kundalini) tree from which water (energy) flows to the rest of the garden. A garland of red and white roses is spiraling around the tree (the upward movement of the “kundalini serpent”). Red and white are the colors of the alchemical marriage.

Left: a painting by Dante Gabriel Rossetti, entitled: Mary Nazarene (1857). Mary is visited by the Holy Spirit, in the form of a dove (left). Because of this, according to the Bible, she will become pregnant with Jesus. Dante Gabriel Rossetti wants us to know that this story is a metaphor for a kundalini awakening. Maria is portrayed in an unusual way: working in the garden, caring for red roses and white lilies, like an alchemist. The watering can standing next to her is decorated with a sun (symbol of the divine), and an upward stream of water: the kundalini energy. Her long red hair (the color of fire) hangs down to her pelvis, the place where the kundalini energy is located.

The RWS Hierophant wears a blue robe under the chasuble, so that the card also contains the meaningful color combination of red-blue (male-female). The Y on the back of the two men in the foreground stands for the merger of the opposites. In the illustration from Symbola Aureae Mensae (below) we see an androgynous figure, or rebis, who holds a letter Y in one hand and makes the sign of the sacred marriage with the other hand. The RWS Hierophant is also rather androgynous: it is not immediately clear whether this is a man or a woman. Other elements that refer to the fused duality are the black and white checkered strips on the floor, and the crossed keys in the foreground.

The staff of the RWS Hierophant is much shorter than usual (see painting of Pope Gregory, above) and rests on his / her knee. This confirms our interpretation that the staff of the Pope / Hierophant represents the spine. The triple cross at the top of the staff has the same meaning, esoterically, as the three rings on the pipe of the alchemical furnace (see above): body, feeling and thinking are purified by the kundalini fire in the spine. The three crossbars are getting shorter towards the top, so that they form a triangle with the point upwards: the symbol for the element of fire.

An engraving from Michael Maier’s Symbola Aureae Mensae (1617)

The spiritual aspirant (warrior) receives three laurel wreaths for his victory over his animal drives (the three-headed monster), that controlled his body, feeling and thinking. An engraving from Discours Philosophique, S. Stuart de Chevalier, 1781.

The Tarot of Château des Avenières

The Hierophant of Château des Avenières wears the crown of the Egyptian god Amun-Ra. This crown consists of a red sun disk and two raised, stylized feathers. These feathers are a variant on the universal theme of two wings: a symbol for expanded consciousness (like, for example, the caduceus).

The two kneeling women next to the Hierophant, like the pillars, stand for duality, which is emphasized by their different skin color. The pillars and clothing of the Hierophant are in red and blue.

The woman on the right points to the Hierophant’s staff. It is a special staff, to which a chain is attached with decorations, including Ankhs.  This chain defies gravity. This symbolizes the ability of the Hierophant to initiate others, with the awakened kundalini energy in his spine (the staff). On the mural from the temple of Seti I (above) we see such an initiation, with a similar staff.

Château des Avenières (1917)

Wall painting from the temple of Seti I
in Abydos, Egypt
.

Conclusion

The name of the fifth card of the tarot changed a century ago from Pope to Hierophant, but the deeper meaning has always remained the same: spiritual completion.

The pentagram is a symbol that – also in the tarot – is used for the realized person. That this card has been given number 5 will therefore not be a coincidence.

Staff and triple crown – fixed attributes on this card – represent mastery over body, emotions (heart) and thinking (head).

The Hierophant is androgynous: the sacred marriage has taken place. The inner duality (the male and female energies) has melted into a unity. The outer duality (matter) has lost its grip. This is symbolized by the two humble and obliging clergymen on the card.

Parallel Worlds Tarot

(Astrid Amadori, 2014) 
www.parallelworldstarot.com

This card refers to the inner Hierophant. Moses heard the voice of God coming from a burning bush, and had a staff that could turn into a serpent: both are kundalini metaphors. The divine energy can be both counselor and initiator!

New Millennium Tarot
(Lee Varis)
 www.newmillenniumtarot.com

The Boddhi tree, under which the Buddha was illuminated according to legends, is integrated into the Buddha himself on this card: it was an inner “kundalini tree”. Also incorporated in the card are the four elements, and a Greek cross: the fusion of duality in the heart of the Buddha.

De Alma Ajo Tarot

(Alma Ajo, Spanje, 2010)

Beautiful, concise symbolism!

Night Vale Tarot

(Hannah Holloway, 2015)

The inner experience of the sacred marriage (male hand and female hand) translated into striking and contemporary visual language!

Botanica Tarot Deck
(Kevin Jay Stanton, 2018)
 https://kevinjaystanton.bigcartel.com

A red rose, a white rose, and a triple crown: brilliant!

This article was published in Paravisie Magazine (juni ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Illustrations from the tarot decks, reproduced by permission of U.S. Games Systems, Inc., Stamford, CT 06902. c. by U.S. Games Systems, Inc.  All rights reserved.
Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-06-20T06:43:49+00:00February 23rd, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 5. The Hierophant

Tarot 4. The Emperor

4. The Emperor

In terms of its meaning, it seems to be one of the simplest cards of the major arcana, but nothing is less true. Title and image are deceiving here, because the Emperor of the tarot is not about the emperor …!

Both the Emperor and the Empress of the 15th century Visconti Tarot have an eagle on the card. As we saw in the analysis of the Empress, this royal bird, spiritually speaking, stands for a completed process of God-realization. The placement of the eagle on the Emperor’s hat (instead of on a shield, as with the Empress) confirms this interpretation. This refers to the caduceus: the staff of the god Hermes, the classical symbol for a kundalini awakening.

Caduceus

A caduceus

The two wings at the top of the caduceus represent an expansion of consciousness. The staff itself has the same meaning as the scepter in the hand of the Emperor: the spine with the divine kundalini flowing in it. The two snakes that spiral upward on the staff represent the duality that merges into a unity during the awakening process. This aspect has been subtly incorporated into his legs of the Emperor. On one Visconti card we see the Emperor pictured with crossed legs (2 = 1) and on the other card only one foot is visible. The theme of the crossed legs will be taken over by the Tarot de Marseille, and by many other decks that follow.

The Visconti di Modrone Emperor

The Visconti (Brera-Brambilla) Emperor

The Buddha at a young age

The god Ganesha

In Hinduism, gods and saints are depicted with just one foot on the ground to express that they are no longer connected to duality, but are rooted in divine oneness.

The so-called globus cruciger (a globe with a cross on it) in the hand of the Emperor has, just like the scepter, both a worldly and a spiritual meaning. In the hand of a ruler (a “possessor of the world”), the globus cruciger stands for spreading Christianity as a dominant doctrine of faith. Esoterically, the globe with a cross stands for spirit ruling over matter.

The Tarot of Marseille

All decks that have appeared under the collective name “Tarot of Marseille” show the Emperor in profile. With this body position he expresses the number 4, the number of the earth. This interpretation is confirmed by the extra number 4 that is placed on some decks below the Roman numeral of the card (IIII). The Emperor is the only Marseille card that has this double numbering.

The Tarot of Marseille,
by Jean Noblet (circa 1650)

The Tarot of Marseille, by Jean Dodal,
with an extra 4 (1701-1705)

An alchemical illustration of the Magnum Opus: king (red) and queen (white) are merged into an androgynous figure (rebis). The tight belt around waist of the naked body, and the scepter placed in the crotch, symbolize the sublimation (bringing to the higher chakras) of the sexual energy.

The globus cruciger has been moved to the top of the scepter. The Emperor is holding his belt with his free hand. This symbolizes control over his sexual impulses (the energy of the lower abdomen): the Emperor is lord and master of his animal nature. Matter (the number 4) and the body have no hold on him.

Another new detail is the red feather on the crown of the Emperor. In combination with the other symbolism, it is likely that this feather stands for a kundalini awakening. Red is the color of the first chakra, where the kundalini resides. The feather refers to, and has the same symbolic meaning as, the eagle on the hat of the Visconti Emperor. We also see the red feather on three cards of the Rider-Waite-Smith Tarot: the Fool, Death and the Sun.

An alchemical illustration from: Philosophia Hermetica, Federico Gualdi (ca. 1790). The alchemist, clothed as a warrior, is standing in the transforming fire of the kundalini. The six trees represent his six chakras that are being purified. Next to him stands the god Hermes with his staff the caduceus, the classic symbol of a kundalini awakening. Hermes raises the globus cruciger in his hand: a reference to the sublimation (deification) of the lower (material) energies.

Oswald Wirth Tarot

Oswald Wirth has placed his Emperor on a cube with an eagle. In alchemy, a cube symbolizes earth (the three dimensions). Both the eagle and the fact that the Emperor sits on the cube refer to his supremacy over matter. The lyre on the eagle is an attribute of the Greek sun god Apollo; an additional element to confirm to us that the Emperor represents the spiritual aspirant who has realized the divine.

The sun and moon on the chest of the Emperor represent the duality that he has conquered. The two energy channels that flow along his spine, and that form the energetic blueprint for our inner duality, have merged into one.

On the top of his scepter (symbol for the spine) a fleur-de-lys, or “French lily”, is placed; an esoteric symbol for the pineal gland.

Oswald Wirth Emperor (1889)

An alchemical illustration of the process of kundalini awakening. The scepter with fleur-de-lys symbolizes the spine with the pineal gland at the top.

Château des Avenières

The Emperor in the chapel of Château des Avenières is an Egyptian version of the Oswald Wirth Emperor. The 4 x 4 squares on the cube is (probably) a reference to the 4 elements. The eagle has been replaced by a phoenix: an element that emphasizes the overall symbolism of spiritual awakening (an eagle can still be seen as heraldry).

The Emperor wears a so-called Pschent: a double crown representing the union of the two sub-regions Upper Egypt and Lower Egypt. According to the historiography, several pharaohs had the task of uniting the two halves of their land into one kingdom.

Anyone who delves into the details of the history of Egypt, and is familiar with spiritual processes, cannot escape the impression that the stories about Upper and Lower Egypt also contain a symbolic layer. These two realms could also represent the higher (divine) and lower (animal) nature in humans. In a kundalini awakening, it is the spiritual aspirant’s task to unite both natures within themselves. The inner struggle that accompanies this, is represented by the war between the two Egyptian sub-regions.

On the Emperor’s crown we see a so-called uraeus: a stylized, upright, Egyptian cobra; symbol of the awakened kundalini energy. At this place in the head – at the height of the sixth chakra – the fusion of the opposites takes place; which includes the union of the lower and higher nature.

The Emperor in mosaic from Château des Avenières (1917)

The Pschent (center) is composed of two crowns: on the left the goddess Wadjet with the red crown of Lower Egypt and on the right the goddess Nekhbet with the white crown of Upper Egypt.

Rider-Waite-Smith Emperor

The RWS Emperor is dressed in red. This is, as we saw during the discussion of the previous card, the Empress, a reference to the alchemical royal couple (red king and white queen) that merges during the Magnum Opus. The mountains in the background symbolize an expanded consciousness.

The ram’s heads on the throne have a double meaning. Where the RWS Empress is connected to the female energy of the planet Venus, the Emperor is connected to the male energy of the planet Mars. The zodiac sign for Mars is Aries.

The ram is also a symbol of the animal nature that the Emperor has conquered. This becomes even more apparent when we put two other Emperor cards, that were also influenced by the philosophies of the occult group The Golden Dawn, next to the RWS card (below).

On the Classic Golden Dawn card, one foot of the Emperor is on a ram. On the Builders of the Adytum card, the Emperor sits on a ram-headed cube. Both standing and sitting on something symbolizes dominion over that object.

Rider-Waite-Smith Emperor (1909)

Classic Golden Dawn Tarot (2004)

Builders of the Adytum Tarot (circa 1950)

The Classic Golden Dawn-Emperor also has a scepter with a ram’s head at the top. This means that the energy from the animal drives (the lower chakras) is sublimated (brought to the higher chakras).

The scepter of the RWS Emperor communicates the same thing, with different symbolism. The RWS scepter is a derivative of the Ankh, the Egyptian symbol that stands for eternal life. An Ankh is a stylized representation of the spine with the pineal gland at the top, similar to the caduceus. The Ankh scepter of the RWS Emperor is placed on top of one of the ram heads. This means that the Emperor has led the energies from the lower abdomen, through the spine, to the pineal gland.

The Egyptian god Ptah with an Ankh on a Djed pillar (4th-3rd century BC)

Jesus as the “King of the Universe”, with the devil, in the form of a dragon, under his feet. The deeper meaning of this is comparable to the “spiritual emperorship” of tarot card number 4. In the words of Jesus: “My kingdom is not of this world …” (John 18:36).

Thoth Tarot

The Thoth Emperor looks to the left, to the Thoth Empress, with whom he forms a pair. Both cards have a shield with a double-headed eagle: the alchemical symbol for the fusion of the opposites (emperor and empress). Next to the Thoth card (below), we see a extraordinary alchemical illustration on which Jesus, instead of being crucified, is depicted as a double-headed eagle …!

The Thoth Emperor (1969)

Illustration from: Buch der Heiligen Dreifaltigkeit (15th century)

Aleister Crowley has not incorporated many elements from christianity into his deck. At the bottom right of his Emperor card we see one of the exceptions: the victorious Lamb from the Book of Revelation, with the visions of John. From the following quote we may deduct that the Biblical Lamb on this card is the counterpart of the sexual energy that the ram stands for:

1 Then I looked, and behold, the Lamb was standing on Mount Zion, and with Him one hundred and forty-four thousand, having His name and the name of His Father written on their foreheads.
4 These are the ones who have not been defiled with women, for they have kept themselves chaste. These are the ones who follow the Lamb wherever He goes. These have been purchased from among men as first fruits to God and to the Lamb.
(Revelation 14:1 en 4)

“…having His name and the name of His Father written on their foreheads” are those who have completed the sacred marriage at the height of the sixth chakra. “They have kept themselves chaste …” . It can hardly be stated any clearer!

The number 144,000 is also meaningful. The sum of the “petals” of the first six chakras is 144 (4 + 6 + 10 + 12 + 16 + 96). The number of petals of the seventh chakra is a symbolically large number: 1000. One hundred and forty-four thousand refers to the opening of all chakras after a completed kundalini awakening.

According to Aleister Crowley, his Emperor expresses the alchemical symbol for sulfur (a triangle with a cross underneath) with his body posture. Sulfur is one of the three primary elements involved in the Magnum Opus.

A colored engraving by Giovanni Lacinio, from 1714, of the Magnum Opus, with many elements that we also see on the various Emperor cards through the ages. The symbols on the tree trunk (spine) are the three primary alchemical elements: salt, sulfur and mercury. The two lions represent the animal drives that, sublimated (the wings), provide the force necesary to complete the process of God-realization. The symbols above the lions are the four elements: fire, earth, water, and air. The globe (orb) with cross, on top of the tree trunk, stands for spirit ruling over matter (four elements). The sun and the moon, at the top of the illustration, represent duality. A small sun and moon are also depicted in the globe: the duality has merged into a unity. The white eagle symbolizes the completed process

Conclusion

Together with card number three, the Empress, the Emperor forms the alchemical couple that merges during the Magnum Opus. The Tarot Emperor also represents the person in whom this sacred marriage took place: for the spiritual aspirant who is master over matter and his animal drives.

His crown and scepter came at a price. He had to go through a lengthy and painful process of cleansing and detachment. On the engraving of Sabine Stuart de Chevalie, from 1781, we see this arduous path from the alchemist to “spiritual emperorship” in beautiful symbolism.

Colored engraving by Sabine Stuart de Chevalier from Discours Philosophique (1781).
The monk’s habit of the alchemist represents his way of life. On the left we see him sad because all his efforts do not seem to be successful. His enormous bookcase stands for the knowledge and wisdom he has acquired. In the background we see a maze as a symbol for his quest in the dark.
But then he is surprised with a divine visit. The woman stands for “God the Mother” (Sophia, the kundalini, the Shekinah, etc.). He impulsively refuses the crown and scepter she offers him; an indication of his humility and modesty. The tree bearing fruit is a metaphor for a completed kundalini awakening. On the organ pipes behind him are the symbols of the seven classical planets. These represent the seven chakras of the alchemist that are fully opened. In the glass flask (symbol for the alchemist himself), on the left in the foreground, the red king and white queen (the inner polarities) are united. On the rim of the fireplace, above his head, are the symbols for the four elements: he has conquered matter.

Tarot of the New Vision
(© Lo Scarabeo, 2003)

This deck pictures what can be seen if you turn the Rider-Waite cards 180 degrees. The turtle behind the Emperor’s throne represents the patience and perseverance needed to attain spiritual emperorship. A turtle that pulls in its head and legs, is also a well-known metaphor for meditation (the withdrawal of the five senses from the outside world). Lo Scarabeo adds to this: “a turtle carries the burden of its own house. This entails a responsibility.”

The Alice Tarot
(Baba Studios, 2014, eu.baba-store.com)

This mythical animal – a griffin – with the lower body of a lion and the upper body of an eagle, symbolizes the sublimation of the animal energies (transformation from lion to eagle). The tail with two points refers to the merging of duality into a unity.

LeGrande Circus & Sideshow Tarot
(US Games, 2015)

A circus director is lord and master of “the show” (the illusion, Maya, of material life). He lets the animals do what he wants with his whip. The lemniscate form of the whip refers to the fusion of duality and the divine. In alchemy, red and white represent duality (the red king merges with the white queen).

The Raven’s Prophecy Tarot
(Llewellyn, 2015, maggiestiefvater.com)

The sword in the stone is a kundalini metaphor from the King Arthur legends. Whoever manages to pull the sword from the stone (the awakening of the kundalini in the pelvis) is the true (spiritual) king / emperor.

This article was published in Paravisie Magazine (June ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Illustrations from the tarot decks, reproduced by permission of U.S. Games Systems, Inc., Stamford, CT 06902. c. by U.S. Games Systems, Inc. All rights reserved.

Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-06-20T06:44:01+00:00February 20th, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 4. The Emperor

Tarot 3. The Empress

3. The Empress

The card of the Empress has multiple layers. It represents, among other things, the feminine in man (the anima in Jungian psychology) and the feminine aspect of God. As an anima she is the other half of the Emperor – the animus. Their fusion – the sacred marriage – leads to a union with God.

Two cards of the Empress have been preserved from the 15th century Visconti decks. At first glance they do not seem to contain any special symbolism. On both cards the empress holds a shield with an eagle on it. This eagle can also be found on the family crest of the noble Viscontis, so is an explainable element. The fact that the eagle on this card does indeed have a spiritual meaning is only clear when we study the entire Visconti-Sforza deck, and when we compare Empress cards from later centuries.

Visconti Di Modrone deck

Visconti-Sforza deck

Alchemy

In the tradition of alchemy, which had its heyday in the 15th century, an eagle – the king of birds – represents the completion of the process of God-realization.

On the engraving of Jacob de Heyden (right) from 1615 we see an eagle balancing on two pillars. These pillars represent the inner duality, which must be merged into a (divine) unity. They are connected by a rope with a wedding ring; a reference to the sacred marriage.

Emblem from: The Hermaphrodite Child of the Sun and Moon (author unknown, 1752)

Engraving from: Emblemata moralia & bellica (Jacob de Heyden, 1615)

To express the transcendance of duality, alchemy often uses the image of a king and queen uniting. The illustration from Rosarium Philosophorum (below) is an example of this. We see a royal couple lying in the water, which means that this process takes place in our subconscious. The wings symbolize the completion of the process of unification. One hand of the king lies on his genitals: the sexual energy must be preserved in order to experience the divine.

From: Rosarium Philosophorum (circa 1550)

This powerful primal energy in our lower abdomen must be lifted to the higher chakras. In many spiritual traditions the challenge of gaining mastery over the sexual impulses is symbolized by a powerful dragon that must be conquered.

The Magnum Opus of the alchemist (illustration from around 1400). The king and queen are fused into one figure, also called rebis or hermaphrodite. The conquered dragon lies at their feet. The three snakes in the cup represent the three energy channels involved in a kundalini awakening. The wings, and the ouroboros in the king’s hand, refer to the accomplishment of the inner unity.

Tarot

With the ages it becomes clearer that the cards number 3 and 4 of the tarot – the Empress and the Emperor – represent the alchemical royal couple, that merges during the process of God-realization. The Empress of the Tarot of Marseille (17th and 18th century) sits on a throne with a backrest that suggests two wings; the symbol for spiritual completion. This reinforces the symbolism of the eagle on the card.

The Tarot of Marseille,
by Jacques Vieville (circa 1650)

The Tarot of Marseille,
by Jean Dodal (1701-1715)

The Empress of the Italian Carlo Della Rocca (below) makes the sign of the sacred marriage (two fingers together) with both hands. In addition, she points with the two fingers of her right hand at the eagle.

Reproduction (Classic Tarot) of an Italian tarot card from the early 19th century (designer Carlo Della Rocca).

Oswald Wirth Tarot (1889)

Chateau des Avenières (1917)

Oswald Wirth

The Empress of the occultist Oswald Wirth (1889) has real wings. Wirth enriches the card with elements that refer to a vision of the apostle John, from the Bible book of Revelation: a crown of stars and a crescent moon under her foot.

The woman, the Child and the dragon
1 A great sign appeared in heaven: a woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars;
2 and she was with child; and she cried out, being in labor and in pain to give birth.
3 Then another sign appeared in heaven: and behold, a great red dragon having seven heads and ten horns, and on his heads were seven diadems.
4 And his tail swept away a third of the stars of heaven and threw them to the earth. And the dragon stood before the woman who was about to give birth, so that when she gave birth he might devour her child.
5 And she gave birth to a son, a male child, who is to rule all the nations with a rod of iron; and her child was caught up to God and to His throne.
(Revelation 12:1-5)

Alchemical illustration of the Magnum Opus (18th century)

This is a vision of a kundalini awakening that John is going through. The woman represents his soul who is about to “give birth” to the divine. John has undergone a purification process of many years for this to happen. The crown with twelve stars stands for spiritual completion. The divine light flows through him unhindered (his soul is “clothed with the sun”). He has conquered duality / matter (the moon).
The divine birth is threatened by a big red dragon. Here also, a dragon stands for the animal instincts. The color red refers to the first chakra, the energy of our most basic (read: animal) needs. The iron staff with which the Child will rule, represents John’s spine with the kundalini energy flowing in it.

The birth of this divine child is the result of the sacred marriage. Alchemy also uses the image of the birth of a child, as part of the Magnum Opus (left).

The Empress in the chapel of Château des Avenières largely resembles the Empress of Oswald Wirth. On the shield in her hand we see a phoenix instead of an eagle. This mythical bird, rising from its ashes, represents the process of spiritual rebirth.

The Rider-Waite-Smith Empress

Arthur Waite and Pamela Colman-Smith have added elements to the Empress that also give her a macrocosmic meaning. The RWS Empress is God the Mother: the feminine aspect of God, who can be found not only in man (the kundalini in our pelvis), but also outside man. It is the supporting, nourishing energy that makes up the universe.

The placement of the Empress in nature refers to her macrocosmic meaning. The grain in the foreground is an attribute of Demeter, the Greek goddess of agricultural crops and the harvest.

On the dress of the Empress are pomegranates are depicted. As we saw on the card of the High Priestess, pomegranates, because of their red color and many seeds, are a symbol of the kundalini: the ‘divine seed’ in our pelvis, at the height of the first chakra (color red).

The pomegranate plays an important role in the well-known Greek myth about the abduction of Persephone, the daughter of Demeter, by Hades, the god of the underworld. A story that is seen as an explanation for the changing seasons, but that stands at a deeper level for a kundalini awakening.

Persephone (the kundalini) is taken against her will by the god Hades to the underworld (the kundalini is “locked up” in the pelvis). Demeter is inconsolable and goes into mourning, as a result of which all the greenery on earth stops growing (spiritual aridity, no longer experiencing a connection with God). Zeus, the father of Persephone, orders Hades to bring her back. Hades, however, tempts Persephone to eat six seeds (at the sixth chakra the sacred wedding takes place) of a pomegranate. As a result she has to return to the underworld for a few months every year. Persephone is freed from the underworld (the pelvis) by the god Hermes, the god with the caduceus, that stands for a kundalini awakening.

The Rider-Waite-Smith Empress (1909)

“The return of Persephone”,
Frederic Leighton (1891)

Artist Frederic Leighton has incorporated the deeper meaning of this myth in his painting from 1891. We see Hermes with one hand holding the caduceus and his other arm is around Persephone. This depicts the merging of the inner masculine and the feminine. This interpretation is confirmed by both hands of Persephone, that make the sign of the sacred marriage.

The RWS Empress sits on an orange-red cloth and leans against an orange cushion. These colors refer to the dwelling place of the Empress (the kundalini) in humans: in the pelvis, at the level of the first and second chakra (red and orange respectively)..

On the right-hand side of the card we see a stream of water flowing from a tree, that is shaped like a pine cone, to the feet of the Empress. This water symbolizes the kundalini energy that flows from the pelvis to the pineal gland.

The pineal gland

The RWS Emperor

From the alchemical manuscript Aureum Vellus (1598)

The color white of the dress the Empress wears represents the feminine. In alchemy, the colors white and red represent the opposites of duality that must be brought to a unity. Often the metaphor is used of a marriage between a queen dressed in white and a king dressed in red.

The heart shape of the shield on the RWS card, and the symbol of the planet Venus (on the shield, on the black pillow, and the pomegranates), are elements that refer to duality, of which the Empress represents one half:
Empress – emperor
Female – male
Venus – Mars
Heart (feeling) – head (thinking)

The RWS Empress also represents a complete spiritual awakening: the scepter, the crown with twelve stars, and the laurel wreath on her head, express this. A scepter stands for authority / mastery. The scepter on this card has a globe at the top, which refers to dominion over matter. The stars on the head of the empress have the shape of a hexagram (six-pointed star); the symbol that expresses the merger of the polarities.

The laurel wreath (a wreath of laurel branches) refers to mastery over sexual urges. This meaning is derived from the Greek myth of Apollo and Daphne. The god Apollo pursues the river nymph Daphne (a name that means Laurel), driven by lust. She desperately calls on the help of her father, the river god Penues. He turns his daughter into a laurel tree, through which she escapes Apollo’s persistent advances. Apollo turns the branches of the laurel tree into a wreath, which then becomes a symbol of chastity.

The moral of this myth is that the kundalini energy can only awaken and grow into a “tree of life” that reaches to the crown of man, if the sexual energy is preserved. A laurel tree is green all year round. This symbolizes the immortality of man after a completed kundalini awakening..

Thoth Tarot

The Thoth Empress is also full of symbolism. According to Aleister Crowley, the Empress stands for both the lowest level of creation (matter) and the highest, spiritual level. Her throne of water spirals represents her birth from water; a reference to the goddess Venus. Water is a feminine element, just like the moon. At a deeper level, birth from water refers to a kundalini awakening.

From: Figuarium Aegyptiorum Secretarum (18th century)

The Thoth Empress (1969)

The lotus flower in the right hand of the Empress is a classical symbol for spiritual perfection. The blue lotus was seen as the holiest of all flowers in Ancient Egypt. In his Book of Thoth, Crowley calls her “the blue Lotus of Isis, a symbol of the feminine.”

On the shield at the feet of the Empress we see a double-headed eagle. The two heads reinforce the alchemical meaning of the eagle: God-realization, as a result of transcending (fusing) duality. Usually the heads are shown turned outwards (see illustration above from Figuarium Aegyptiorum Secretarum). Crowley has chosen to turn them towards each other, and to put a fusion of sun and moon between them, thereby reinforcing the symbolism of unification.

The pelican who feeds her young with her own blood, on the bottom of the card, is also a classic metaphor, from alchemy and Christianity, among others. Crowley herself explains this as Mother Nature who feeds her children (us). In Christianity, the self-wounding pelican stands for Christ’s self-sacrifice for the salvation of humanity. In alchemy, the pelican stands for the self-sacrifice of the spiritual aspirant: the sacrifice of the ego – and the suffering that comes with it – to realize the divine.

Conclusion

As a feminine aspect of God, the Empress resides in our pelvis (the kundalini energy) as well as in creation. When we look around us, everything that we can see, and everything that grows and flourishes, is “the Empress.”

The Empress also stands for the “completion of nature”. The tradition of alchemy views nature / man as not “finished”. A process of sublimation (deification) is still needed (the Magnum Opus). The crown and scepter of the Empress represent a completed process of transformation, and mastership over matter and the animal instincts.

Reaching the Empress is not easy, as this old alchemical illustration shows in visual language: a steep mountain with thorn bushes must be climbed.

The Tarot of the Golden Serpent
(Sebastian Haines, 2009, www.thegamecrafter.com/games/tarot-of-the-golden-serpent)

A card full of symbols that express both the material and the spiritual side of the Empress, including a scepter with Cupid; symbol for the (divine) love, which forms the basis of all creation.

The Fairytale Tarot
(Yoshi Yoshitani, 2019, www.yoshiyoshitani.com)

Mary is depicted here as “Our Lady of Guadalupe”, one of her Catholic titles. In the symbolic layer of the Bible, Mary personifies both the feminine in man and the feminine aspect of God (the kundalini), just like the Empress of the Tarot. An example is her presence at the Wedding in Cana (a metaphor for the sacred marriage), where Jesus turns water into wine (a metaphor for God-realization).

Mythical Tarot
(Kayti Welsh-Stewart, Ravynne Phelan, 2016,
www.ravynnephelan.com, www.animantras.com)

The Empress is surrounded by the five elements of Chinese philosophy: wood, fire, earth, metal and water. On her dress are symbols that refer to her spiritual meaning: a tree (of life), the sun and the moon, and a stream of water. She holds an egg in her hands: a symbol of fertility and (re)birth.

Rich Black Tarot
(Rich Black, 2019, www.rblack.org)

Nature’s beauty and fertility are concisely expressed by the image of a flower with a butterfly and the sun. A butterfly is also a classic symbol for transformation.

Tarot of the Wild Unknown
(Kim Krans, 2012, www.thewildunknown.com)

A card with beautiful, powerful symbolism. The tree stands for (the growing power of) nature, but can also be interpreted as a “tree of life”: the “kundalini tree” that grows in man from the pelvis to the crown. The color red suggests (kundalini) fire. The moon is a symbol for the feminine and for duality.

This article was published in Paravisie Magazine (May ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-06-20T06:44:15+00:00February 17th, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 3. The Empress

Tarot 2. The High Priestess

2. The High Priestess

The High Priestess is a mysterious, intriguing card, in many ways. Her original name – The Popess – already indicates that this card represents something special. Popess is in fact a non-existent position in the Roman Catholic hierarchy and also touches a sensitive chord; the priesthood is not accessible to women.

The cards of the very first tarot game, the Visconti-Sforza, have no titles, but the image is clear enough: we see a woman with a pontifical tiara (crown) and a staff with a cross. The Pope himself is depicted on his own card with exactly the same attributes. This feels like a conscious provocation and raises questions. The church was not known at the time for her sense of humor. For heresy, in the worst case, you could end up at the stake. The noble Visconti family, who commissioned the cards, apparently felt unassailable enough, but why take risks for a game that is only intended for recreational purposes?

Because, as we will see when discussing the other cards of the major arcana, the tarot was designed as a game, but it was also used as a vehicle for esoteric knowledge, even then. One had to be careful with this. Spiritual theories and beliefs that were inconsistent with the dogmas of the church could not simply be communicated in public. The esoteric symbolism in the very first tarot cards is in many cases subtle and, up to now, recognized as such by few.

The Visconti-Sforza Tarot (1454)

Both the Pope and the Popess of the Visconti-Sforza tarot represent the spiritually perfected person. The official reading of the church is that the pope is Christ’s representative on earth. A person in this position is implicitly expected to have a great spiritual maturity. Ideally, the person with the highest degree of spiritual perfection becomes the leader of the rest. The fact that it does not always work this way, unfortunately, does not interfer with the suitability of the pope to serve as an archetype for spiritual completion. His attributes underline this.

A tiara, a triple crown, stands for the spiritual perfection of body, thinking and feeling. In the Bible we also find this division. For example in the parable of the leaven:

Another parable he spoke to them; The kingdom of heaven is like leaven, which a woman took, and hid in three measures of meal, till the whole was leavened.
(Matthew 13:33)

The leaven is the kundalini energy or Holy Spirit. It permeates body, feeling and thinking – the three measures of flour – causing the bread to rise (metaphor for an expansion of consciousness). We will further explore the meaning of a tiara when discussing the Pope card.

The staff of high-ranking clergy – an outward sign of authority – is at a deeper-level a symbol of the spine with the awakened kundalini energy flowing in it. We often find decorations on the staff that refer to the process of spiritual awakening: a serpent or pine cone (the pineal gland), for example. In this case we see at the top the staff of the Pope a Greek cross; a cross with equal arms. In the esoteric traditions, this cross is a symbol for the merging of the opposites. For fusing duality into a unity; the end result of a kundalini awakening.

What stands out, when studying the Visconti-Sforza card, is that the woman has the attributes of a pope, but not the matching clothing. She is dressed like a simple nun. Her clothing expresses that she has renounced all her possessions and leads a life dedicated to God. This emphasizes that her crown and staff do not stand for a dominant position within the church, but for her spiritual level.

The Tarot of Marseille, by Jean Noblet
(circa 1650)

Tarot of Marseille

On the Tarot of Marseille, about two centuries later, the clothing of the Popess is adapted. She too is now dressed as a high-ranking official, just like the Pope. However, the deeper meaning of the card has not changed. The Popess still stands for spiritual perfection; for transcending duality and realizing the divine “oneness.” The staff with Maltese cross of the Visconti-Sforza card has been replaced in the Jean Noblet Tarot by two crossed bands on the chest of the Popess, which in turn are decorated with crosses, to emphasize the symbolic meaning of the bands. (The same meaning as the two raised fingers of the Pope: I made the two into one)

With this interpretation we also find the answer to the pressing question that has left many tarot connoisseurs puzzled. Why did Jean Dodal (also belonging to the Tarot of Marseille) not call his Popess card La Papesse, like his colleagues, but La Pances? Nobody knows. It is an unknown word that resembles – and sounds very similar to – the French word for belly: panse. I think that Dodal with the title La Pances refers to the kundalini energy in the belly of the Popess!

The Tarot of Marseille,
by Jean Dodal (1700-1715)

The Tarot of Bologna
(17th century)

“Allegory of the church”, chapel of St. Peter’s Basilica in Rome

The keys of the Kingdom of God

The two keys with which the Popess is depicted on some decks are the two keys of the pope that give him authority on earth and in heaven. The church derives this meaning from the Bible passage in which Jesus says to the apostle Peter (who is therefore seen as the first pope):

“I will give you the keys of the kingdom of heaven; and whatever you shall bind on earth shall be bound in heaven, and whatever you shall loose on earth shall be loosed in heaven.”
(Matthew 16:19)

Traditionally, one key is silver and the other is gold. Esoterically, silver and gold stand for, respectively, the female (moon) energy and the male (solar) energy. On the card the keys are always held crossed. This too is a reference to the fusion of duality. Some explain the Popess as an allegory of the Roman Catholic Church, because the church (“ecclesia“) is sometimes allegorically depicted as a woman with a tiara and two keys (see photo, above, from the chapel of St. Peter’s Basilica in Rome). But this is not the meaning of the Visconti-Sforza card, because the church is never depicted in a habit.

The real meaning of a card – and of the symbols used in it – only comes to light when it is seen in conjunction with its developmental history and with the other cards of the major arcana. The esoteric meaning of the cards had to remain hidden from the general public. The designers have certainly succeeded in this!

The Etteilla Tarot

In a time frame of about a century, three Etteilla decks have appeared, with striking differences between them. Etteilla decks do not have a Popess card, but Etteilla III is the first tarot deck with a card called The High Priestess. That this card represents a kundalini awakening can also be deduced from her predecessor in deck I. Etteilla I has a card “La Prudence” (Caution) on which is depicted a woman who almost stands on a serpent (below). At first glance “La Prudence” seems to refer to looking out for danger in the outside world. The caduceus (symbol for a kundalini awakening) in her hand, however, gives the card a completely different meaning: make sure (caution) that you lift the (kundalini) serpent (up to the crown), instead of allowing him to bite you (use the kundalini for the satisfaction of the lower chakras) …!

The La Prudence card of Etteilla III also shows clear kundalini symbolism. A woman is holding a mirror with a serpent. The mirror stands for self-reflection / self-knowledge (the “Know thyself” on the temple of Delphi). The path of the kundalini serpent from the pelvis up to the pineal gland is shown twice on this card. The pine cone pattern on the woman’s dress also refers to this. An English version of this card is suddenly called The High Priestess. A surprising adaptation that had a major effect: The Popess was replaced by The High Priestess in almost all tarot decks that followed.

Etteilla I (1788)

Etteilla III, French version (circa 1870)

Etteilla III, English version

The veil of Isis

The Tarot from Oswald Wirth appears at almost the same time as the Etteilla III Tarot. Wirth’s card is still called Popess, but he does introduce a number of new elements that will prove to be permanent. A moon symbol is added to the tiara, making the meaning of this crown more universal (less Christian). Behind the Popess are now two large pillars with a cloth between them. The pillars represent duality, just like the two keys. We may deduce from the moon symbol that the cloth refers to the ‘veil of Isis’, behind which the Greater Reality is hidden.

The meaning of the card shifts to the energetic dimensions. The Popess no longer represents the perfected human being, but rather the divine energy that brings about this perfection. She is known by many names. The Eastern traditions call her the kundalini-shakti. Mystical Judaism speaks about the Shekinah. In Ancient Egypt she was a powerful goddess with multiple faces and associated names, including Isis and Hathor.

Oswald Wirth (1889)

Château des Avenières (1917)

The High Priestess in the chapel of Château des Avenières wears the crown of Isis. Her face is partially hidden behind a veil. This has the same meaning as the cloth behind her. The kundalini can be found both inside, and in the outside world; she is also the divine energy from which the physical reality, as we perceive with our senses, is built. However, what we perceive is an illusion, according to many spiritual traditions. The Eastern traditions call this Maya. Through Maya, or the veil of Isis, we can not see the Greater Reality. During a spiritual awakening, this veil is “lifted”.

The Rider-Waite-Smith
High Priestess (1909)

Rider-Waite-Smith Tarot

Arthur E. Waite continues with his deck on the themes introduced by his predecessors. The pillars are now marked with the letters B and J; a reference to the pillars Boaz and Jachin of the temple of King Solomon. On the canvas behind the High Priestess we see date palms and pomegranates. The tiara has been replaced by a crown consisting of two crescent moons and a full moon; a reference to the lunar cycle, which in turn stands for a spiritual resurrection or rebirth. Pamela Colman-Smith, the designing artist, has placed an extra crescent moon under the feet of the High Priestess. With two fingers the High Priestess makes the “sign of the sacred marriage”, which means the same as the Greek cross on her chest: the union of the opposites (the pillars B and J). The Bible has been replaced with a scroll with “TORA” on it, which she partially hides behind her robe. In the background we see a calm sea. All these new elements point in the same direction: a kundalini awakening!

Tree of Life

Almost every spiritual tradition has, in one form or another, a “tree of life”: a mythical tree that forms a bridge between our world and the world of the gods. The type of tree can differ, just like the legends attached to it, but in all cases it is an inner tree. An energetic tree with its roots in the pelvic area, and the branches with (often special) fruits are located in the head.

On the veil, behind the RWS High Priestess, we see references to two of these “kundalini trees”. The pomegranates are placed according to the sefirots of the Kabbalistic Tree of Life, which are a schematic representation of the inner world of man. The upward movement through the Tree of Life – the way back from matter to the divine – is called “the path of the serpent” in the kabbalah.

The date palm, also on the veil behind the High Priestess, was already regarded a sacred tree in Ancient Egypt. And later, in Judaism and Christianity, this tree kept its special status. This can be traced back to a number of specific properties of the date palm, which make it very suitable as a metaphor for a kundalini awakening. First of all, like most trees of life, it is green all year round, a reference to “eternal life”. Her long bare trunk, with only leaves at the top, is a beautiful representation of the spine. In addition, palm branches have a special feature: the lower leaves deform into spines, so that the lower part of the palm branch resembles a spine.

Furthermore, dates – the fruits of the female palm tree – resemble the pineal gland in terms of shape. Pamela Colman-Smith has emphasized this symbolic value of the date by adding a yellow date to the center of the crown of the palm trees, in addition to a few hanging red dates. The Latin name of the date palm is also significant: Phoenix dactylifera. “Phoenix” confirms that in ancient cultures the date palm was associated with the process of spiritual rebirth.

Both the figure of the High Priestess herself, and the tree of life, represent the kundalini energy. Water is another universal kundalini metaphor. The lower part of the dress of the RWS High Priestess looks like flowing water, and a calm sea extends in the background of the card.
On the wall painting from an Egyptian tomb (below) we see the deceased man drinking from a water source near a date palm.

The Kabbalistic Tree of Life

Branches of a date palm
(Phoenix dactylifera)

Mural painting in the tomb of Irynefer (TT 290), Luxor, Egypt.

Saint Bruno, by Hieronymus Wierix, 16th century.

To attain eternal life with God, the ego must first die. On the engraving with Saint Bruno (left) we see an unusual crucifixion scene: Jesus hanging in a palm tree …! The artist Hieronymus Wierix knew, and wanted to communicate, that the crucifixion and resurrection of Jesus, on a deeper level, stand for the death of the ego and a spiritual rebirth. By placing the palm tree with Jesus on a skull, Wierix also indicates where this process takes place: in the head. With the middle fingers of his right hand he makes the sign of the sacred marriage (2 = 1) that took place in Jesus.

The pillars Boaz and Jachin

In the Bible book 1 Kings we read about the legendary temple that King Solomon built for God. This story is not about a real building, but about making yourself into a “temple” for God to live in. One of the indications that we should not take the story literally is the curious fact that no sounds were heard during the construction of the temple:

The house, while it was being built, was built of stone prepared at the quarry, and there was neither hammer nor axe nor any iron tool heard in the house while it was being built … and they would go up by winding stairs to the middle story, and from the middle to the third.
(1 Kon. 6:7-8)

The temple of Solomon with the pillars Jachin and Boaz

The side rooms are accessible by a spiral staircase; a beautiful metaphor for the spiral movement of the rising kundalini. It takes Solomon seven years to construct the temple, referring to the opening / activation of the seven chakras. He has two huge copper columns placed against the entrance hall of the temple and gives them names: Jachin and Boaz. The two pillars represent the two energy channels (named ida-nadi and pingala-nadi in the yoga tradition), that connect us to duality, and that flow on the left and the right side of the spine. It is these two pillars that must be unified (the sacred marriage) by the spiritual aspirant to complete the kundalini process

Pomegranates

In ancient cultures the pomegranate represented fertility, abundance, rebirth and eternal life. It is a fruit full of seeds, so associations with fertility and abundance are easy to understand. The pomegranate also stands for the “divine seed” dormant in our sacrum. Partly, she owes this to her red color, which corresponds to the color of the first chakra, where the kundalini is located. This explains her symbolic meaning of rebirth and eternal life.

Pomegranates

The RWS Fool

Pomegranates are also depicted on the clothing of the RWS-Fool. An additional element – in addition to the discussed red feather, the symbol for ether, and the eagle – that refers to the spiritual potential of the first card of the major arcana.

The woman with the moon under her feet

The crescent moon under the feet of the High Priestess refers to a quote from the book of Revelation, which contains the visions of the apostle John:

A great sign appeared in heaven: a woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars; and she was with child; and she cried out, being in labor and in pain to give birth.
(Revelation 12:1-2)

The woman is clothed with the sun, the text says. The sun stands for the divine, for immortality. The ever-changing moon represents physical reality, duality, mortality, the illusion of matter. The woman has the moon under her feet: she has gained mastery over matter / duality. Her crown with stars stands for an opened crown chakra and the number twelve symbolizes spiritual fullness. Colman-Smith used this twelve-star crown on the following card of the major arcana: the Empress.

John’s vision are images of the kundalini awakening that he is experiences. The child who is about to be born is the divine child who is born in his soul. With the addition of the crescent moon under the feet of the High Priestess – a new element – Colman-Smit wants to emphasize what this card stands for: a kundalini awakening!

Conclusion

The High Priestess represents the divine mystery in our pelvis. The knowledge regarding the kundalini energy has always been hidden anxiously from the general public, to prevent abuse. This is the meaning of the only partially visible Torah role on the RWS High Priestess. Both in the Bible (in which the Torah is included) and in art, this knowledge is covered by symbolism.

Only for those who sincerely long for God and live a pure life, will the High Priestess lift her veil.

The righteous will flourish like a palm tree…
(Psalm 92:12)

Classic Golden Dawn Tarot (2004)

The High Priestess holds a chalice: the Holy Grail. She herself is this mythical chalice, in which the blood of Jesus is said to have been collected. A chalice coveted by many, and sought in vain in the outside world.

Tarot of the Saints (2001)
(© Robert Place robertmplacetarot.com)

In the symbolic layer of the Bible, Mary Magdalene personifies the kundalini energy. For example, in the story of the anointing of Jesus, and at his resurrection (depicted on this card). This is clarified in my book John the Baptist who became Jesus the Christ.

The Byzantine Tarot (2015)
(© Eddison Books)

The gnostics call the kundalini Wisdom (Sophia). This is also her name in the Old and New Testament. In the Eastern Orthodox Church, also called the Byzantine Church, Sophia is worshiped as an aspect of God.

Nature Spirit Tarot (2015)
(© Jean Herzel www.naturespirittarot.com)

In alchemy and mythology, the owl – an animal associated with wisdom – refers to the kundalini energy / Sophia / Wisdom. The pine cone is a classic symbol of the pineal gland. The symbol of the “Flower of Life” stands for the energetic blueprint of our creation, which is also an aspect of the kundalini.

Sacred India Tarot (2012)
(© Yogi Impressions)

The Hindu goddess Saraswati, depicted here, personifies the kundalini energy. She is the goddess of wisdom, knowledge, music and art. Saraswati is seen as a “water goddess”. Her musical instrument, the veena, represents the pelvis and spinal column. The strings are the chakras that she “plays”.

The Complete Arthurian Tarot
(Caitlín and John Matthews, art by Miranda Gray, Eddison Books)

The Lady of the Lake who gives King Arthur his magic sword Excalibur, is a metaphor for a kundalini awakening. Excalibur is the divine energy flowing in his spine.

Initiatory Tarot of the Golden Dawn (2008)
(© Lo Scarabeo)

On this card the spiraling movement of the rising kundalini is visualized. The Holy Grail is lifted from the pelvis to the brain. The winding rope around the woman’s body reinforces this image. Instead of two pillars, the lemniscate is used here for the fusion of duality. A beautiful modern version of the High Priestess / kundalini!

This article was published in Paravisie Magazine (april ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-06-20T06:44:36+00:00February 10th, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 2. The High Priestess

Tarot 0. The Fool

0. The Fool

The major arcana of the tarot traditionally consists of 22 cards. Arcana comes from the Latin arcanum, which means secret; a reference to the esoteric (secret) knowledge that is hidden in the cards.

The specific meaning of the archetypes and symbols used in the contemporary versions of the major arcana cannot be viewed separately from the developmental history of the cards. In the first centuries, the Fool was depicted as a ragged wanderer, without pants on. He lives in his own world and apparently does not care about the children around him who bully him.

Visconti Sforza deck (1454)

Charles VI deck (± 1465)

D’Este deck (± 1473)

Feathers have been inserted into the hair of the Fool on the Visconti-Sforza deck; a reference to the lightness / emptiness of his mind. This interpretation is confirmed by the empty gaze with which he stares into the distance.

The explicit nudity of the Fool on the d’Este deck, in combination with the children pulling down his pants, would definitely not be acceptable nowadays. And apparently even in the 17th century it was thought that innocence and madness should be portrayed in a different way, because on the Tarot of Marseille, the tarot deck that laid the foundation for all contemporary decks, we see that the children have been replaced for a cat (or is it a dog?) that jumps to the genitals of the Fool.

Tarot of Marseille, Jean Noblet
(± 1650)

Etteilla Thoth Tarot (early 19th century)

Oswald Wirth Tarot (1889)

The Etteilla Thoth Tarot by Jean-Baptiste Alliette (early 19th century) is the first deck that visibly incorporates esoteric symbolism. The Fool’s card shows a jester holding his hands to his eyes. From now on the card will portray, increasingly clear, ignorance, “not wanting to see.” The other cards of the major arcana will be representing aspects of the spiritual path.

From now on, the Fool, with or without bare buttocks, is in the tarot “the fool” who does not follow the road to the Kingdom of God. The basis for this interpretation is Bible quotes such as:

Because you say, “I am rich, and have become wealthy, and have need of nothing,” and you do not know that you are wretched and miserable and poor and blind and naked.
(Revelation 3:17)

The fool says in his heart: “There is no God.” (Psalm 53:1)

For the wisdom of this world is foolishness with God … (1 Cor. 3:19)

Oswald Wirth adds a crocodile and a fallen obelisk to the Fool’s card in his tarot deck (1889). Two themes that will be incorporated by many other decks to come. Both the crocodile and the fallen obelisk refer to spiritual unconsciousness.

Crocodile

In many spiritual traditions, a crocodile represents our most primitive drives; the instinctive impulses from our “reptile brain” (that part of our brain that is also active with reptiles). Symbolically, being eaten by a crocodile means being spirtually unconscious; being driven by animal instincts instead of by the heart or soul. Living a materialistic and indulgent lifestyle.

An important demon in Ancient Egypt was Ammit, or Ammut, the “Devourer of the Dead.” Ammit was depicted as a composition of the three most dangerous animals in Egypt at the time: a crocodile, a lioness or leopard, and a hippopotamus. Ammit devoured the hearts of those who had led a bad / sinful life.

In Hinduism, defeating a crocodile is a mythical theme. Gods are depicted riding a crocodile, which symbolizes mastery over the animal instincts.

Another example is the legend Gajendra and Moksha (the Enlightenment of Gajendra) from the sacred writings of Hinduism.

The Egyptian demon Ammit, “Devourer of the Dead”

The elephant Gajendra is liberated by the god Vishnu

The river goddess Ganga sitting on her crocodile

The sea god Varuna on his Makara, a crocodile-like creature.

While bathing in a lake, the elephant Gajendra is painfully bitten in his leg by a crocodile and is not able to free himself. At the end of his powers (according to legend after more than a thousand years) he begs the god Vishnu for help. As a sacrifice he keeps a lotus in the air. Vishnu frees Gajendra by decapitating the crocodile with his Sudharshana Chakra (a spinning sharp discus).

The story is a metaphor for spiritual awakening. The crocodile represents the animal instincts in our subconscious (the lake). The lotus held up by Gajendra symbolizes his opened crown chakra. The moral of this myth is that Moksha (the state of enlightenment) can only be achieved if the animal instincts have been conquered. However, humans can not achieve this on their own. You need Gods (Vishnu’s) help.

An Egyptian obelisk

Fallen obelisk

A pillar is a universal symbol for the spine, awakened by the kundalini-energy. This is also what the obelisk from Ancient Egypt stands for. These tall stone columns, shaped as sun rays, symbolized the sun god Ra. They were associated with resurrection and immortality. It was also believed that the spirit of Ra lived in the obelisks. These are all attributes that refer to the divine (solar) energy in the spine of an awakened (‘risen’) human being

If we extend this meaning of an upright obelisk to one broken / lying down, then this represents a spinal column that is not (yet) awakened: the spinal column of the spiritually unconscious fool.

The addition of a crocodile to the broken obelisk symbolically depicts the kundalini energy used to satisfy the animal drives (the lower chakras), rather than the realization of the higher nature.

Château des Avenières

The tarot, executed in mosaic, from Château des Avenières has many similarities with the Oswald Wirth Tarot. The Fool wears the clothes of a jester. His pants are hanging down (spiritual “nudity”). His consciousness is narrowed: he is wearing only one shoe and does not seem to care about the dog that bites his leg. Neither does he seem to be aware of the crocodile and the abyss ahead of him. His eyes are on the moon, a newly introduced element.

The continuously waning and waxing moon is a universal symbol for the non-permanent nature of physical reality. Everything on earth is subject to cycles of birth and death, decay and renewal. The moon also represents duality; the polarities that are at the basis of physical reality. The always-shining sun symbolizes the divine, which is eternal, one, and unchangeable. Being focused on the moon refers to spiritual unconsciousness, to being trapped in duality.

The Fool of Chateaux des Avenières

The Greek god Hermes with caduceus

The abyss in the picture represents the subconscious, in which the Fool will fall if he keeps looking at the moon. Unique for the Fool of Chateau des Avenières is that his hat has wings. This is a reference to the Greek god Hermes (Mercury with the Romans), who has a helmet with two wings. Hermes with his serpent staff, the caduceus, represents the divine kundalini-energy.

A jester’s hat, instead of a helmet, with wings symbolizes, just like the fallen obelisk, that the spiritual potential of the Fool is not developed..

All elements on this card match and reinforce each other, in terms of symbolic meaning. The Fool does not follow the road that leads to God (this makes him a jester and ‘naked’). He is focused on matter (the moon) and is about to die spiritually (falling into the abyss or being eaten by the crocodile).

The Rider-Waite-Smith (RWS) Tarot

With his deck, which is released in 1909, Arthur E. Waite breaks with a number of the, at that moment, unwritten rules and customs in terms of the design and sequence of the tarot cards. His Fool is not a shabby jester with a narrow consciousness, but a happy, lively young man, clothed as a prince. Designing artist Pamela Colman-Smith has added many new symbolic elements.

Waite and Colman-Smith have chosen to emphasize the spiritual potential of this first card (according to some the last card) of the major arcana. We see a young man who walks around, carefree, in a dangerous environment (abyss). This can be explained as innocence and optimism, fueled by a trust in God. This attitude is supported by Bible quotes.

If any of you think he is wise in this world, let him become a fool so that he may become wise. (1 Cor. 3:18)

But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong. (1 Cor. 1:27)

Verily, I say to you: whoever does not receive the Kingdom of God as a child will certainly not enter it. (Mark 10:15)

Colman-Smith has incorporated various elements that give the Fool a potential of a spiritual awakening. No fallen obelisk in this case, but references to the caduceus, the staff of the god Hermes, that represents a kundalini awakening.

The red feather, that flows in an S-shape along the staff of the Fool, represents the divine energy that rises from the first chakra (color red) to the crown; comparable to the spiraling serpents on the caduceus. On card number 19, the Sun, this red feather reappears. Now it is standing upright on the child’s head: the awakening process is complete.
The arms of the Fool follow the form of the red feather, reinforcing the symbolism of flowing kundalini-energy.

The bag on the end of his staff has the head on it of (probably) an eagle. The eagle, the king of birds, is a universal symbol for expanded consciousness and the divine. A clever alternative, conceived by Colman-Smith, for the two wings at the top a caduceus. The staff of the Fool points at the sun, a symbol of the divine.

A prince also refers to spiritual potential, namely the prospect of a spiritual kingship. A prince represents the promise of the Kingdom of God. In fairy tales and myths this is an archetypal theme: the prince who has to overcome all kinds of (spiritual) difficulties before he can marry the princess (the sacred marriage), and can take his place on the throne of his father (read: Father). As an illustrator of children’s books, Colman-Smith undoubtedly was familiar with this theme and its deeper meaning. Card 4 of the major arcana, the Emperor, represents this accomplished spiritual kingship.

The wheel with eight spokes, on the Prince’s / Fool’s clothing, is the symbol for Ether. Ether, or energy, is the fifth element. Spiritually it represents (the working of the) Spirit.

The white rose in the Fool’s hand is a classic symbol for innocence, purity and chastity. In the RWS deck, the white rose returns on card number 13, Death. It has the meaning of spiritual cleansing on both cards. On the helmet of Death we, again, see a red feather: this tells us that the kundalini energy is the active force in the purification process.

The Thoth Tarot

The Thoth Tarot by Aleister Crowley, first released in 1969, 22 years after Crowley’s death, is in no way like his predecessors. Uniquely designed and full of symbolism, this deck has inspired countless artists in their version of the tarot.

The Fool of the Thoth Tarot

The Hindu goddess Durga

Crowley’s version of the Fool also emphasizes his spiritual potential. This is expressed by symbols such as the caduceus , the butterfly, the white dove (the Holy Spirit), a bag of coins with signs of the zodiac and planets, the vulture (Ancient Egypt), and the grapes (divine ecstasy). The green clothing refers to the mythical ‘Green Man’ and spring, and with this to fertility. With both legs the Fool enthusiasticly makes a leap into the unknown.

The sun at the height of his crotch is an unmistakable reference to the kundalini energy. The pine cone on top of the caduceus stands for the pineal gland, which is activated by the kundalini, as it rises to the crown. The tiger symbolizes the danger that the Fool faces during his spiritual journey. This animal represents the energy of the second chakra (color orange). If the kundalini-energy is not raised after awakening, but remains ‘stuck’ in the abdomen, and is used for sexual activities (second chakra), this leads to spiritual death (being eaten by the tiger).

Where the crocodile (at the bottom of the card) stands for our animal drives in general, the tiger stands more specifically for sexual energy. In Hinduism, the tiger – like the crocodile – is used as a mount for the gods. The message is: whoever wants to experience the divine must gain mastery over the animal instincts.

Conclusion

The tarot is a set of 78 cards, containing profound spiritual wisdom. In the 14th century the Fool was depicted as a vagebond, a wanderer; nowadays he more clearly represents spiritual potential. Some decks emphasize his spiritual unconsciousness – the poverty of a life without God – others approach it more positively and focus on his childlike innocence and future possibilities, which are presented by the other cards of the major arcana. Arthur E. Waite (RWS deck) wrote about the Fool: He is the spirit in search of experience.

In biblical terms, the Fool is “the prodigal son” who returns home, to his father (read: God), after he got completely stuck in life (on earth).

Knapp-Hall Tarot (1929) by the writer Manly P. Hall

The blindfold refers to spiritual blindness.

Classic Golden Dawn Tarot (2004)

The Fool on this card is pure and innocent “like a child” (Bible), with mastery over his animal drives (the wolf). The tree symbolizes the awakened kundalini energy. The six roses represent six fully opened chakras; at the sixth chakra the sacred marriage has taken place. The five petals are a reference to the pentagram. In essence, this card represents the end of a spiritual journey.

The Sun and Moon Tarot (2010) by the Belgian artist Vanessa Decort

Both the spiritual dangers and the growth potential are made clear, in easy to interpret symbols.

The Haindl Tarot (1990) by the German artist Hermann Haindl

According to Haindl: “The wounded swan represents the fall, the departure of mankind from the garden of Eden.”
This symbolism is derived from the Grail romance / poem Parzifal, ‘the pure fool’, who kills an innocent bird (a swan in Wagner’s opera of the same name) with his bow and arrow. Haindl is thus linking the Fool of the tarot, and the search for the Holy Grail.

D’Morte-Disney deck

Pinocchio as the Fool is spot on!
Carlo Lorenzini, the spiritual father of Pinocchio was a freemason. The story of the wooden puppet (symbol for spiritual unconsciousness) who goes on a journey and wants to become a man of flesh and blood, is a metaphor for the journey of spiritual awakening

This article was published in Paravisie Magazine (febr ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Illustrations from the tarot decks, reproduced by permission of U.S. Games Systems, Inc., Stamford, CT 06902. c. by U.S. Games Systems, Inc. All rights reserved.

Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres/index.htm

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-06-20T06:44:49+00:00February 5th, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 0. The Fool

Tarot 9. The Hermit

9. The Hermit

God cannot be found on facebook or at a festival. To experience the divine, silence and seclusion are required. A hermit withdraws from the world and leaves his possessions behind, to find the Light. The tarot card The Hermit stands for this quest. The big question is: is the man on the card still searching or has he found?

Hourglass

On all preserved tarot cards from the 15th century we see a man with a long gray beard and hourglass. In 16th century writings this card is called “The Old Man” or “The Hunchback.” Because of the hourglass, the card is nowadays often explained as “Father Time.” This association was intended by the artist as a cover for the actual meaning: a kundalini awakening.

Because of its shape and vertically flowing sand, an hourglass lends itself perfectly as a metaphor for the kundalini energy that flows from the pelvis to the head. Alchemical emblems from the same era confirm this interpretation.

Visconti-Sforza Tarot
(15th century)

Castello Ursino Tarot
(15th century)

Illustration from ‘Zoroaster Clavis Artis’ (1738).
The alchemist, in monk clothing, is (internally) purified by the kundalini energy (woman with jug and running water). The hourglass in his hand represents the same process. The god Mercury, with caduceus, pours a red liquid over the man’s head. This is the precious “Elixer of Life” (Elixir Vitae), pursued by the alchemist. This elixir of life is a metaphor for the changes that the brain fluid undergoes during a kundalini awakening.

The fact that the Visconti-Sforza card was called “The Hunchback” at that time, and not “Father Time”, rouses suspicion that something special is indicated with his hunched back. The cards that follow in the next centuries provide more clarity about this: variants appear with an hourglass on the upper back of the man, and with a pillar (a universal kundalini symbol) behind him (see below). We may infer from this that the hunched back on this card is a reference to an ‘awakened’ spine.

Another element that could be explained as kundalini symbolism is the curious double-brimmed hat (the two energy pathways that merge in the head during the awakening process). Added to this, it seems as if the old man – subtly – makes the sign of the sacred marriage (2 = 1) with his left hand. The fact that these elements may be seen as symbolism is mainly motivated by the way in which the card has developed in the following centuries.

Few cards have survived from the relatively unknown Castello Ursino deck, made for Alessandro Sforza. The Hermit / Time is one of them (above). The old man on the card holds his hourglass above a pile of rocks. This means is that the kundalini has been brought “to the top of the mountain” (to the head). The white, knotted scarf around the man’s waist refers to the two energy channels that are united at the pineal gland (the loop of the knot). The six buttons on the coat are a reference to the six chakras that the kundalini energy had to pass on its way to the top.

Right: tarot card from Italy, 16th century. The arrow through the hourglass is also a symbol of the kundalini energy, as we will see with other tarot cards. With his right hand the man makes the sign of the sacred marriage (two fingers together): in him the two energy channels (crutches) are merged into one.

Pilar

In the iconogaphies of spiritual traditions, the pillar is frequently used as a symbol for the awakened spine. Below two examples of tarot card “Father Time” with a pillar behind his back. Also interesting is the money pouch that the man carries at the height of his lower abdomen. This is probably a reference to the (kundalini) “treasure” in the pelvis.

  Late 15th or early 16th century (uncut sheet)

Tarot of Bologna
(17th century)

Illustration of a kundalini awakening

The Etteilla Tarot Deck from 1789, designed by the occultist Jean-Baptiste Alliette, has its own unique numbering and interpretation of the cards. On card number 18 “Le Traitre” (The Traitor) – a name that refers to the predictive meaning of the card and not to the image – we see a monk with a high lifted burning lantern, in the style of The Hermit of the Tarot of Marseille, that we will discuss below. In front of the monk is a pillar and in the background three more pillars (the three energy channels involved in a kundalini awakening) to reinforce the symbolism.

Etteilla Tarot (1789)

In early Christianity, hermits sometimes literally lived on a pillar. Food and water were brought up to these so-called “pillar saints.” That this ultimate form of asceticism is rooted in symbolism can be deduced from the enormous serpent spiraling around the pillar on this plaque of Simeon de Stylite from the Louvre (6th century).

The Hindu god Shiva with a pillar on his head (Cambodia, 10th century)

Lantern

On the Tarot of Marseille Hermit, the hourglass has been replaced by a lantern, but the meaning of the card has remained the same. The man on the card holds the burning lantern high: he has brought the kundalini fire to his head. The lantern is half hidden behind his cloak: it is an inner light. An additional indication that we must translate the image to the interior of the Hermit, is that it is daytime on the card; a lantern is not needed …!

Tarot van Marseille,
Jean Dodal (1705)

Tarot van Marseille,
Nicolas Conver (1760)

The candle in the lantern is a red “stripe”, corresponding to the red staff: both represent the spine with the kundalini fire flowing in it. On Jean Dodal’s card, the man holds his staff with only three fingers, with the middle finger sticking out slightly. The three fingers represent the three energy channels involved in a kundalini awakening; the middle finger refers to the awakened spine (in the “center of the body”).

The card now also has a name: The Hermit – L’Ermite in French. Nicolas Conver has opted for the Old French – and at that time already unusual – spelling L’Hermite, which is probably a reference to Hermetism: a spiritual tradition related to alchemy.

The outside of the Hermit’s cloak is blue and red: his masculine (red) and feminine (blue) energies are united. The inside of his cloak is yellow / gold; a reference to the divine light that burns in him.

Illustration from Wasserstein der Weysen (Siebmacher, 1704).
God lights a candle (the spine) in the interior of the simple and modest alchemist. A very joyful event, not intended for the powerful and the rich (stumbling around in the dark, in the background).

Serpent

In the 19th century, the (kundalini) serpent makes an entrance. On the card of the Tarot of Lomdardije from 1810, three small serpents wriggle at the feet of the Hermit. Two of them are green in color, one is blue – the same color as the lantern. This is an indication that the snake and the lantern symbolize the same thing: the awakened kundalini. With the hand with which the Hermit holds the lantern, he makes the sign of the sacred marriage: in him the two green snakes (energy channels) are merged.

On the card of Oswald Wirth from 1889, we see a rising red serpent next to the staff of the Hermit. The staff has seven “rings”: a reference to the seven chakras that have been opened by the kundalini (the rising serpent).

Tarot of Lombardy (1810)

Oswald Wirth Tarot (1889)

Château des Avenières (1917)

The Hermit of Château des Avenières also has a lantern, raised to head height. At the top of his staff (with seven colored beads) we see the Ankh-sign; a symbol from Ancient Egypt that stands for the awakened spine and pineal gland.

Instead of a red serpent, the designer of the mosaic has opted for a long red sash, two ends of which fly up in the air, and a third strip of fabric lies on the head of the Hermit. A creative finding for portraying the three energy channels. The volcano in the background confirms us that the kundalini energy in the Hermit has awakened and ascended to his crown. The dog sitting next to his staff symbolizes the sublimated (transformed) animal drives / energies.

Rider-Waite-Smith

A six-pointed star burns in the lantern of the RWS card. This hexagram represents the union of the opposites (the two energy channels). The staff of the Hermit extends to his crown and has the same yellow-gold color as the hexagram. The man’s long, slender silhouette and the color of his cloak are reminiscent of a pillar. If we compare this card with the RWS card The Tower, this seems no coincidence.

The snow suggests that the Hermit stands on the top of a high mountain; a reference to his expanded consciousness. On top of a mountain you are closer to God.

The Rider-Waite-Smith Hermit (1909)

Conclusion

Tarot card The Hermit stands for the spiritual seeker who has completed the process of God-realization. The hourglass, the lantern, the pillar, the staff and the snake, all represent the same: the divine energy in the hermit’s pelvis has awakened and flows through his spine to his crown. From a high, snowy mountain top, he looks out over the world he has conquered.

“He who overcomes, I will make him a pillar in the temple of my God,
and he will go out from there no more.”
(Revelation 3:12)

This piece of art has been standing on the roof of the former Masonic headquarters in Mendocina, California since 1872. Its meaning is a secret that the Freemasons hide from the outside world. Only at the third, and highest initiation does a freemason learn what the artwork represents. We see Father Time, who braids the hair of a virgin. The braid reaches down to her pelvis. The girl holds in her hands a flask and a (broken off) branch of the acacia tree. A broken pillar stands in front of the virgin. The hourglass from Father Time is at her feet. It is not up to me to reveal in detail the secret of Freemasons. The whole artwork is a metaphor for the process of God-realization. The reader of this article should now be able to interpret all elements.

The Women of Science Tarot (Matteo Farinella, 2019)

A striking, modern version of The Hermit: scientifically measured changes in the brain as a result of a kundalini awakening.

Via Tarot (U.S. Games Systems, 2003)

A card with a lot of depth. The Hermit is standing naked (born again) on top of a pillar that is filled with (divine) light. The two serpents (energy channels) are fused. For this inner rebirth tot take place, the “old self” / ego must die; powerfully portrayed by the crucified man in the upper half of the card, after the famous painting by Salvador Dali.

Steampunk Tarot(Publisher Llewellyn, 2012)

A beautiful combination of an hourglass and a lantern, with a high voltage effect. A church tower (pillar) with clockwork (Father Time) in the background.

The Wild Unknown Tarot(Kim Krans, 2012)

A beautiful picture with (vague) a lamppost above the monk’s head. The sign next to him says “informazioni portineria” (information concierge): the Hermit can show the spiritual seeker the way.

This article was published in Paravisie Magazine (nov ’19). Copyright Anne-Marie Wegh 2019

Anne-Marie Wegh is the author of the book
John the Baptist who became Jesus the Christ

Illustrations from the tarot decks, reproduced by permission of U.S. Games Systems, Inc., Stamford, CT 06902. c. by U.S. Games Systems, Inc.  All rights reserved.
Foto’s Châteaux de Avenières: http://hermetism.free.fr/Avenieres

0. The Fool
1. The Magician
2. The High Priestess
3. The Empress
4. The Emperor
5. The Hierophant
6. The Lovers
7. The Chariot
8. Justice
9. The Hermit
10. The Wheel of Fortune
11. Strength
12. The Hanged Man
13. Death

By |2020-04-13T15:53:37+00:00January 24th, 2020|Anne-Marie, Paravisie, Tarot|Comments Off on Tarot 9. The Hermit