In the previous post, we were looking at the significance of body language in tarot graphic illustration, in relation to ideas of openness. Taking another look at the Queen of Wands in comparison to the Empress in body language, both have open laps and sit with legs apart, (rather than in a crossed or demure drawn-together position), though their long gowns do drape decorously over their knees, (and the Empress’s lower body is angled to the right, with legs drawn closer together than those of the Queen of Wands). These hints at sexual openness suggests some Aphrodite energy, which ties in with our theme of opening as it relates to the month of April. April is both the month of opening and the month dedicated to Aphrodite and her divine powers of opening, as previously mentioned. In the RWS deck, the Empress is explicitly associated with Venus/Aphrodite, (as shown by her heart-shaped shield with the glyph of Venus on it), while the fiery energies associated with the Queen of Wands suggests that she can be the most passionate and sensual of the queens. Despite this, the Queen of Wands is less ready to engage the viewer than the Empress, for she gazes off to the right, and both of her hands are occupied.
When we look at the body language of the four kings, we notice that the King of Swords looks us square in the face, so he is definitely aware of us, but that sword he is wielding blocks any impulse on our part to go right up to him. In these respects, and in the military accessories, the King of Swords’ symbolism resonates with that of The Emperor, (who often has a militaristic orientation). On the other hand, The King of Cups’ open body language makes him more approachable, in keeping with his traditional “Mr. Nice Guy” personality. However, although the King of Cups is facing forward, he is slightly angled to the right (which is his left), while gazing at us slantwise. This may indicate that, though kindly disposed, he may regard us the Querents as something of a distraction.
The only other RWS Minor Arcana cards where the figures look us full in the face are the Four of Pentacles and Nine of Cups. In the former card, the man is greedily clutching a pentacle in a way that erects a material barrier between us and him. The latter shows a jolly man in front of an open (half-circle) arrangement of cups that suggests hospitality, yet our host’s crossed arms indicates that he is selective about who he invites in. There are other cards that show celebration and conviviality, but have a more closed-off quality. For example, the Three of Cups is a festive card that depicts three women dancing, yet theirs is a closed circle, as if to tell the viewer, “Three’s company, four’s a crowd.”
Although the RWS deck’s use of body language and other imagery makes some philosophical statements about concepts of open and closed, there is no reason that other designers couldn’t deal with these issues differently. This gives would-be designers something to think about, and is a reason for users to experiment with different decks on different occasions.
Showing posts with label Body language. Show all posts
Showing posts with label Body language. Show all posts
Saturday, April 23, 2011
Saturday, April 16, 2011
Opening the Tarot, Part II
Picking up on the discussion about “the magic of opening” and images of openness in the tarot:
A certain degree of openness can also be seen in the postures and other body language of the human figures portrayed in the cards. This is particularly noticeable with some of the characters in the Major Arcana. For example, the figures in The Magician, The Empress, The Emperor, The Hierophant, and Justice are all viewed frontally, they meet the gaze of the viewer, and their arms are outspread, (i.e., not crossed or in other closed-off positions). In card interpretation, this can indicate that if they represent different people in your life, they are likely to be approachable, and also aware of your concerns. If these cards stand for general principles rather than individuals, the knowledge and experience they pertain to is more accessible.
Those of us who are into tarot often like to engage the cards as personal teachers, (and the idea of the Major Arcana as teachers [at a magical academy] has been elegantly developed in Corrine Kenner’s “Wizards’ Tarot”), so we might experience these more open figures as the kind of teachers with whom we might enjoy more of a rapport, (just as, when you look back on your student days, you can probably recall some teachers who you could relate to more than others). Of course, if you are using card decks other than the classic RWS, the artists may have changed some of these details, so that then becomes meaningful when you are pondering the cards you have drawn. (Synchronicity factors are at work in the particular deck of cards you choose to work with on a given occasion.)
Some figures in the tarot are viewed frontally and have an open gaze, but in other ways, their posture or other imagery is closed off. A classic example is the High Priestess, who sits wrapped in an enfolding cloak and holds a closed book, showing that she has knowledge to offer, but you won’t penetrate her secrets easily. Even The Magician card, which I have just cited as an example of openness, has a slightly equivocal quality, because he stands behind an altar table as well as a bed of flowers which form something of a barrier. So, one might interpret this to mean that you may have a better chance of establishing a rapport with him by focusing on a common interest, perhaps by asking him about the lessons of elemental Fire, Earth, Air, or Water, as symbolized by his magical tools. Another card whose figure has a frontal stance and gaze, but where there is a barrier between the character and the viewer, is The Chariot. Likewise, although Justice has an open gaze and posture, her raised sword can keep the viewer at a distance. In fact, in cases like Justice and the Emperor, where both of the character’s hands are occupied, there is the suggestion that their duties keep them somewhat at remove. Contrast Justice and The Emperor with The Magician, The Empress, and The Hierophant, who, although they hold different wands or staffs in one of their hands, have the other hand free, which suggests a greater ability to reach out to you, the Querent.
To better appreciate different figures’ qualities of openness, accessibility, and awareness of the Querent, we can compare certain Major Arcana figures to Minor Arcana figures with which they have an affiliation. So, the Emperor is a “High King” to whom the kings of the Minor Arcana owe fealty, and likewise, the Empress has a certain relationship with the Queens. So, we see that while the Empress is one of the most open figures in the deck, (because of her position, gaze, and other body language), none of the queens meet the viewer’s gaze, and only one, the Queen of Wands, has a full frontal posture, (though her head is turned to the side). The fact that the four queens are either looking off in different directions, or looking down at the symbols of their elements, shows them as being more concerned with the duties, contingencies, and worries of their respective suits. Also, it is interesting to note that the Queens of Swords and Wands, representing the more ethereal elements, gaze off to the right, (the direction of the future), while the Queens of Cups and Pentacles, representing the heavier elements, gaze downward, with their bodies oriented to the left, (the direction of the past).
By the way, if oftentimes happens that with these little graphic nuances that I write about, I only first become aware of them because I am writing about them. This is an example of “writing for discovery.” Also, the more I explore these details in the cards, the more I appreciate the level of thought and intuition that Arthur Edward Waite and Pamela Coleman Smith put into these cards, (even though some purists have accused them of junking up the tarot by adding superfluous symbolism).
Well, I still have more to say about the body language of tarot characters, but I will have to pick that up in the next post. TO BE CONTINUED.
A certain degree of openness can also be seen in the postures and other body language of the human figures portrayed in the cards. This is particularly noticeable with some of the characters in the Major Arcana. For example, the figures in The Magician, The Empress, The Emperor, The Hierophant, and Justice are all viewed frontally, they meet the gaze of the viewer, and their arms are outspread, (i.e., not crossed or in other closed-off positions). In card interpretation, this can indicate that if they represent different people in your life, they are likely to be approachable, and also aware of your concerns. If these cards stand for general principles rather than individuals, the knowledge and experience they pertain to is more accessible.
Those of us who are into tarot often like to engage the cards as personal teachers, (and the idea of the Major Arcana as teachers [at a magical academy] has been elegantly developed in Corrine Kenner’s “Wizards’ Tarot”), so we might experience these more open figures as the kind of teachers with whom we might enjoy more of a rapport, (just as, when you look back on your student days, you can probably recall some teachers who you could relate to more than others). Of course, if you are using card decks other than the classic RWS, the artists may have changed some of these details, so that then becomes meaningful when you are pondering the cards you have drawn. (Synchronicity factors are at work in the particular deck of cards you choose to work with on a given occasion.)
Some figures in the tarot are viewed frontally and have an open gaze, but in other ways, their posture or other imagery is closed off. A classic example is the High Priestess, who sits wrapped in an enfolding cloak and holds a closed book, showing that she has knowledge to offer, but you won’t penetrate her secrets easily. Even The Magician card, which I have just cited as an example of openness, has a slightly equivocal quality, because he stands behind an altar table as well as a bed of flowers which form something of a barrier. So, one might interpret this to mean that you may have a better chance of establishing a rapport with him by focusing on a common interest, perhaps by asking him about the lessons of elemental Fire, Earth, Air, or Water, as symbolized by his magical tools. Another card whose figure has a frontal stance and gaze, but where there is a barrier between the character and the viewer, is The Chariot. Likewise, although Justice has an open gaze and posture, her raised sword can keep the viewer at a distance. In fact, in cases like Justice and the Emperor, where both of the character’s hands are occupied, there is the suggestion that their duties keep them somewhat at remove. Contrast Justice and The Emperor with The Magician, The Empress, and The Hierophant, who, although they hold different wands or staffs in one of their hands, have the other hand free, which suggests a greater ability to reach out to you, the Querent.
To better appreciate different figures’ qualities of openness, accessibility, and awareness of the Querent, we can compare certain Major Arcana figures to Minor Arcana figures with which they have an affiliation. So, the Emperor is a “High King” to whom the kings of the Minor Arcana owe fealty, and likewise, the Empress has a certain relationship with the Queens. So, we see that while the Empress is one of the most open figures in the deck, (because of her position, gaze, and other body language), none of the queens meet the viewer’s gaze, and only one, the Queen of Wands, has a full frontal posture, (though her head is turned to the side). The fact that the four queens are either looking off in different directions, or looking down at the symbols of their elements, shows them as being more concerned with the duties, contingencies, and worries of their respective suits. Also, it is interesting to note that the Queens of Swords and Wands, representing the more ethereal elements, gaze off to the right, (the direction of the future), while the Queens of Cups and Pentacles, representing the heavier elements, gaze downward, with their bodies oriented to the left, (the direction of the past).
By the way, if oftentimes happens that with these little graphic nuances that I write about, I only first become aware of them because I am writing about them. This is an example of “writing for discovery.” Also, the more I explore these details in the cards, the more I appreciate the level of thought and intuition that Arthur Edward Waite and Pamela Coleman Smith put into these cards, (even though some purists have accused them of junking up the tarot by adding superfluous symbolism).
Well, I still have more to say about the body language of tarot characters, but I will have to pick that up in the next post. TO BE CONTINUED.
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