A Preliminary Approach to Tarot Mandalas by Paul Nagy

The purpose of this essay is to explore how to let the tarot direct all aspects of a consultation. I suggest
we allow the tarot itself to intervene at all stages of a session, instead of responding to the questions
and concerns of a client conversationally, selecting and shaping a spread to their perceived hopes and
anxieties. Rather, we allow a random draw of a card to provide the initial structure and scope to the
reading.

The purpose of this strategy is to remove both the predilections of the client and the reader from
determining how the tarot will respond to a question. In so doing we trust the full oracular autonomy of
the tarot itself to respond to what is going on in the mind of the client without our needing to predefine
the approach. This tactic relies upon the magic of the unconscious serendipity of the random draw
against our ideas about what is actually at play. Of course there is plenty of room for creative
intervention by the reader and client in the discussion of what the cards signify in the situation at hand.

One way of exercising the autonomy of the oracle is to rely exclusively upon the symbols inherent
structure of the cards themselves as mandalas. In Hinduism and Buddhism mandalas are abstract or
figurative geometrical representations of cosmic processes. In modern psychology mandalas are
understood to function as spontaneous psychic processes that structure significance for the psyche’s
sense of completeness and self-integrity. As tarot readers, much as dream interpreters, we recognize
that the representations on our cards represent symbols in their multivalence and self-cohesion.

Each card represents a mandala in itself. Before exploring the figuration within a card, it makes sense to
recognize the symbolic space in the cards. Each blank card represents two squares aligned vertically to
one another to make a rectangle. Squares represent built universes, whereas circles represent organic
universes. Squares are not a shape in nature and circles remind us of the dome of the sky.

Symbolically, the square is also a circle, and a circle is also a square. The mind
[manas] is the builder. The center of the square has varying distances from its sides
and its corners, whereas the circle’s center to circumference ratio maintains
uniformity. One could say an oval is a circle, mimicking the qualities of a square or a
rectangle.

Together circles can also be overlapped in such a way as to define a shared middle
space. This defines the area of the card as A and B and a middle space of A+B or C.
The basic Venn diagram illustrates this quality. Overlapping of the two circles is the
eye of the needle, the Vesica Piscis oval that is the space within the mandala. This
oval shape a defining element in the suit of Swords pips and in the hedge
surrounding the dancing woman in the World card.

Now that we have presented a basic form for the tarot card mandala shape we need to recognize some
of its characteristics. Each rectangular card carries within it essential directionalities. Each card has a
center or axis, top, bottom, right-side, left-side, a vertical, horizontal, right-diagonal, left-diagonal and a
centrifugal [proceeding or acting in a direction away from a center or axis] and centripetal [proceeding
or acting in a direction toward a center or axis]. These directions provide the energetic dynamic created
by their related dependence upon one another for functionality, their gestalt if you like. For instance, a
circumference requires a center. The horizontal requires a right and left-sided beginning and ending
point. Likewise the vertical requires an apex and nadir.
A Preliminary Approach to Tarot Mandalas by Paul Nagy

These interdependent characteristics each carry with them an energetic

stamp even before they are inhabited by other figures, or images which in
turn carry their own energetic shapes. However, by becoming aware of
the various clusters of characteristics within a blank card we begin to
become aware of its symbolic potentials. It is important to recognize that
these characteristics unconsciously function at several levels. Two of
which I will mention here.

First is the energetic or emotional potential movement within and around

the space of the card. Some readers consider this the intuitive level of
symbolic recognition. Second is the identification or naming of aspects
within and around the card. This essay itself has been an exercise in
cognitively identifying such characteristics. Obviously being practiced in
the recognition of these levels and how they interact within themselves
and within ourselves helps us to decode the images within the cards.

It should be obvious to many percipient readers that these abstract and mutually dependent
characteristics touch upon the archetypal. A feature of the archetype is that it eludes complete
definition and cannot be exhausted by a few simple designations. The reason for this partial definition is
because of its primordial originality, which by definition is unique and not reproducible. We can have
many examples of the idea, but we can never have the inimitable idea itself. The examples are subject to
definition and may even become prototypes as in mathematics, but the original or originating impulse
for the idea itself must by its own uniqueness, not be subject to complete delineation.

Recognizing the provisional nature of what can be said of archetypal space symbolically my remarks are
at best merely a finger-pointing at the sky, even if what I wish to show is the moon.

Understandably, vertical represents transcendence-immanence: The top being transcendent, the

bottom, immanent.

Likewise, the left-right horizontal represents positional change as in progress-regress, or past-future, or

memory-speculation.

The left-right trajectory also suggests the asymmetry of our left or right handedness.

The level horizontal represents a sense of stagnant transformation, whereas a diagonal leaning
introduces greater dynamism. This means that we tend to favor a look in one direction or the other,
even when we are looking from above at all directions.

Because of the stacked squares of the basic card shape, we can assume that the horizontal is given half
the value of the vertical.

The vertical seems to represent fate or destiny, whereas the horizontal plays towards luck or chance.
Our center is choice.

If we assume the overlapping squares. Then we have a horizontal middle [world] between the up of
transcendence [heaven] and the down of immanence [underworld]. One can also see within this and
inherent ladder, steps, going up or down. This is a preliminary form of hierarchy, as are all the shapes.
A Preliminary Approach to Tarot Mandalas by Paul Nagy

Diagonal from corner to corner integrates the complementary vertical and

horizontal divides. It integrates the dimorphism of the horizontal and
vertical. Images oriented towards the diagonal display energy and
dynamism.

The diagonal helps to find the center and also represents transformation on
all levels: centrifugal and centripetal. It is also possible that one reads either
from the center outward, or from the outward toward the center as an
unconscious bias.

As you can see there is a great deal going on in blank space. Some of these
considerations may help readers deal with the abstract pips in the tarot of
Marseille.

The Batons represent fire as a centrifugal burst of energetic flame from the
center diagonally into four directions. One can proceed from the corners
toward the center or from the center toward the corners. The odd number
cards until the 10 are vertical intersections of transcendence-immanence of
the one. Odd numbers tend toward instability and creativity, and even numbers toward stability and
structure. Parallel structures in the pips represent replication of energy and/or stability.

Likewise in the Swords as air. The centripetal sheathed scimitars represent

half-circles interpenetrating at the top and bottom. This polarity defines a
central space between the opposing right or left motions of the half circles
that symbolize both synthesis and antagonism. This is the eye of the needle,
the palm of the hand, the crossing of the fingers, the bending of the elbow or
knee, the winking or blinking of the eye, the space where mind and heart
meet, the Vesica Piscis.

There are two styles of swords depicted in the Marseille Sword pips. The
sheathed scimitar, a half circular sword best used for slicing, depicted as
encased in its holder and perhaps mounted on a symbolic wall for display. The
straight, tapering, pointed sword with exposed hilt and handle best used for
stabbing and jabbing. It is depicted poking through one of the polarities in the
pips on the odd cards. In the odd cards the straight sword breaks or pokes the
enclosed insularity of the Vesica Piscis to exploit change over stability.
However, it should be noted that handle is within the oval and not from without. The flowers on the
outside remind us that the four elements have characteristics outside of what we can know with our
mind.

The interpenetrating circles symbolize interacting but complementary opposites or contradictories. The
space within the overlap is the place in which we are called to "remain in the world". The "liminal space"
is the place where we arrive after we leave one possibility and have not yet gone into another. In this
place in between possibility and probability, we live on the threshold. All transformation takes place in
liminal space. It is the nature of our middle world.
A Preliminary Approach to Tarot Mandalas by Paul Nagy

The coincidence of opposites of Vesica Piscis, the oval between the

overlapping circles, is a unity perceived as happenstance, a unity of
contrarieties overcoming their inherent opposition by convergence without
destroying or simply blending their constituent elements.

The overlapping circles maintain a double view, which at the same time,
remain discrete at both levels. This double view can also be two eyes that
give the illusion of depth to what we see while also producing a blind spot
between our eyebrows.

Although in one way, the intersection of the two circles’ qualities are not
obliterated, in another way, the Vesica Piscis constituents a transformation
of the two qualitative spaces that relinquish their multiple, differentiated
locations for a new tension toward synthesis or disintegration. Examples
would include the concurrence of cessation and motion, of previous and forthcoming, of variety and
uniqueness, of dissimilarity and equivalence, and of visibility and invisibility.

As Renaissance mystic and Cardinal in the Catholic Church, Nicholas of Cusa wrote "I have found the
place where one can find Thee undisguised. It is surrounded by the coincidence of opposites. This is the
wall of Paradise in which Thou dwellest. Its gate is guarded by the “highest spirit of reason”. Unless one
overcomes it, the entrance will not open. On the other side of the wall of the coincidence of opposites
one can see Thee, on this side never." This is a fitting description of the mandorla of the World card as
well as the abstract space Vesica Piscis within the Sword pips.

I’ve taken some time to go over the characteristics of a typical blank tarot
card to show that the basis of creating multiple card mandalas is inherent in
each card. Keeping these orientations in mind one can see how tarot imagery
and color layer, blend and shape these characteristics within each card and
between cards to suggest rich tapestries of the significance. Tarot is
fundamentally a nonverbal evocation of raw significance. As such it touches
upon the dream which is the fountainhead of meaning. Reading the tarot in
this mandalic fashion, we do more than tell stories about the pictures on the
cards. The pictures and the symbolic space they inhabit becomes for a skillful
reader a multidimensional dynamic flow that alters the way we perceive the
situations we inquire about.

Let us say that a client comes to you with a concern about their romantic
prospects. Instead of inquiring about their romance and attempting to
formulate a question, ask them to pick a card, any card.

In this example, the card chosen is the Empress. Now describe the card to the client keeping in mind
that the images all inhabit the symbolic space that we discussed above. For example, the crown is at the
top of the card and therefore represents one’s ideal. The back of the throne can also be imagined as
atrophied wings. The papal scepter, globus cruciger, is held on a left tilting diagonal bias and transects
the center of the card. Hands usually mean action as well as blessing and prayers. The right hand
caresses a shield with an eagle depicted. The center of the card vertical and horizontal seems to
correspond with her heart. It is possible that she guards her heart with the shield of celestial protection
A Preliminary Approach to Tarot Mandalas by Paul Nagy

in this world while her passion symbolized by the lower elevation of her left hand holds the globus
cruciger on the diagonal to express her desire for transformation in the angelic realms. That she is
seated comfortably on her throne means that her position is not likely to move. The lotus under her left
elbow [not depicted in many Marseille cards] also promises present or future fertility, and that the child
is a gift of heaven.

A symbolic reading of the card may be all that is necessary for this
client. However, if the client wishes to explore the elements of what
the tarot is saying then you would ask them to select cards for the
identified symbolic elements which have already been demarcated. In
this case one could select a card for the crown, for the throne, for the
scepter, for the heart, for the waste-band, for the shield, for the
eagle, for the lotus, for the gown. This one card then can generate a
nine card reading. Which on initial selection may be arranged to
approximate the positions they inhabit in the symbolic space of the
Empress.

Besides creating spreads based upon the dynamics of the randomly

chosen card, I often use two decks allowing one deck to become the
randomly selected meanings or questions for a spread. And the
second deck is used to select comments on those questions. Given
that each card represents a whole snapshot of a universe, a close
reading of several cards where the images interpenetrate,
considerations can become extremely complex. One could say that in
tarot less is more, if we train ourselves to truly see wholly what is
happening within a card.

I have discovered that as a card reader I should trust the random selection of cards to be appropriate in
all situations. The less I try to actually control the readings, the more the readings become a profound
journey into human possibility. It is possible that we short shift our craft of reading by not allowing the
tarot itself to establish the question and direct the relationship to its own message.

Paul Nagy has been reading tarot professionally since 1978. He has been exploring the neural cognition
of symbols and space in phenomenology as a basis for a fresh look at tarot reading. Currently he
facilitates a weekly teleconference study of Meditations on the Tarot by anonymous on Tuesday
evenings. His website is www.tarothermeneutics.com and you can find him on Facebook.