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ATS Newsletters

by author

Tarotpedia

The Boiardo 15th c Poem
Tarot history in brief

quotations from various people

Functions of Readings
What is Tarot?


Anonymous

Med. on XVIIII

Emily E. Auger

Tarot and Other Meditation Decks

L. Atkinson

Orphalese Software review

S. Arwen

Memory & Instinct

Kathy Berkowitz

Waite's Mystical Tradition (Pt 1)
Waite's Mystical Tradition (Pt 2)
Waite's Mystical Tradition (Pt 3)
Waite's Mystical Tradition (Pt 4)

Nina L. Braden

Tarot in Literature

David Brice

Birth of Tarot

Colin Browne

Square & Compasses Tarot

Lee A. Bursten

Journeys in Tarot Creation
Vachetta review

E.C.

Review: The Lo Scarabeo Story

Ross G. Caldwell

Tarot History

Bonnie Cehovet

Tarology - Poetics of Tarot
Review: Secret of Tarot
The Mystereum Tarot

N. Chishty-Mujahid

Concerning Ghisi’s Laberinto

Craig Conley

A House of Tarot Cards

A.B. Crowther

Rachel Pollack interview

Jean-Michel David

On Paneurythmy and Tarot
Tarot's expression of the numinous
Yarker, Tarot & Arcane Schools
Waite-Smith Sun card
The Fool as Wandering Jew
Tarot as Christian Art
Education through Tarot
Tarot: the vatical & the sacral
Fortuna, Ass & Monkey
Steiner and Tarot
1701 Dodal restored!
Enc. Tarot vol I-IV: review
Christ, World & Sin
Caveat Emptor:
       Visual Tarot

Tarot & AlefBeit
Review: Jean Payen Tarot
Tarot and Freemasonry
I-Ching and Pip Cards
Whither directing your course?
Tarot & the Tree of Life
Ovid, Egypt and Tarot
When the Devil isn't the Devil
Four elements and the suits
Court Cards & MBTI
Certification & Codes
Jean Dodal Marseille
Conference FAQs
Golden Dawn
Kabalah & Tarot
Golden Tarot review
Annual spread
Iraqi Museum
Two Brief TdM reviews
Meditations on the Tarot

Enrique Enriquez

The Joy of Wordplay
J-C. Flornoy interview
Embodied Tarot
Indirect Suggestions
Whispering to the Eye

Mark Filipas

History of Egyptian Decks
Lexicon Theory

Jean-Claude Flornoy

in memorium
from Oral Tradition

Roxanne Flornoy

Children and Tarot
from Oral Tradition

Mary Greer

Killing the Thoth Deck
On the Tarot of the Four Worlds
Egypt, Tarot and Mystery School Initiations

William Haigwood

The Sixties: Counterculture Tarot

Alissa Hall

Parlour Tricks

Kris Hadar

The Tarot

Claas Hoffmann

Crowley-Harris 'Thoth' deck

Michael J. Hurst

Tarot Symbolism review

K. Frank Jensen

Century with the Waite-Smith

Shane Kendal

A Poetry of Tarot

Ken J. Killeen

The Metaphysical Bible

Barbara Klaser

Language of Tarot

E. Koretaka

Cardinal Virtues

Dovid Krafchow

Kabbalistic Tarot

Lisa Larson

Perceptions of Spirituality

Suzan E. Lemont

Therapeutic Tarot Work

Eric K. Lerner

Diloggun and Tarot

N. Levine

Tarot of Prague review

C. Liknaitzky

Journey in Ceramics

Joep van Loon

Tarot Wheel

Karen Mahony

Prague

S.J. Mangan

Fool, Alef & Orion

Robert Mealing

Petrarch’s Triumphs
Jean Noblet Tarot
Hunting the "true" Marseille Tarot
Cary Sheet

Fern Mercier

Playing the Fool

C. de Mellet

Inquiries into Tarot

Sophie Nusslé

Fantastic Menagerie

Robert V. O'Neill

Tarot Symbolism
Tower Iconology

Michael Owen

Xultun Tarot

Dan Pelletier

Magic Manga Tarot
the Blank Spot

Robert M. Place

The Fool's Journey

Debra Rosenthal

Looking at the Jacques Vieville

Mjr Tom Schick

Tarot Lovers Calendar

Inna Semetsky

Counseling Reading for Spouses
Learning the language of images
Re-Symbolization of Self
Tarot (dis)contents

Diana Sobolewska

'Bateleur's tale'

Russell Sturgess

Jesus's New Testament

N. Swift

Sufism & Tarot

Arthur E. Waite

Symbols of Tarot

The Fool’s Journey in ceramics

by Carol Liknaitzky

When I embarked on this journey of creating the 22 Major Arcana in ceramics, it was a commitment to developing my imagination and finding a way to express the lessons of my life through these ‘windows’. Prior to this I did not have any real knowledge of the Tarot. I was inspired when a Tarot reader friend of mine once said that all the stories of the world are to be found in these 22 Major Arcana.

Before I created each sculpture, I read what I could and then explored the character in my imagination. I needed to sense its soul mood, or the fundamental gesture that is expressed. I asked questions such as -What is the particular life perspective for that character? Can I sense this from the inside out? Sometimes it would take months before the character emerged for me. I would often realise later that I had needed to have particular life experiences, in order to help open the doors to inspiration.

From a practical point of view, I have developed a process of building the sculptures from the feet upwards. In that way the sculpture grows in relation to the dialogue between me and the clay, dependant on the forces of gravity, balance and the essential core. I choose not to use any armature to support it and so must find a way to form it so it can stand in its integrity. I have discovered that when it doesn’t stand, I have to rebuild it until I find the centre of energy of that character in myself. For example, when I created the lion for The Charioteer, I rebuilt the lion about nine times before I could access within myself the core energy of his ferocity that enabled him to stand strong.

The Fool

This character speaks to me about the first step in any journey. I could so easily relate to what it means to take the first step in initiating things. Over the past 30 years I have initiated projects, founded organizations and jumped into developing new things with energy and no ready-made path or recipe. Embarking on this particular journey in ceramics was just such a leap of faith for me.

My Fool is balanced on one foot, flexible, arms wide, open to the world and leaping without a care for what lies ahead. At first when I made him he was a solitary figure and I realized he needed to have a contrast between his carefree joyfulness and a representation of danger and fear –his unconscious shadow. I found it so enjoyable to make the dragon with his scaly body, his spikey wings and purple gums and teeth. It definitely added dramatic tension to the sculpture. It was ironic in terms of the content, as the Fool was made very carefully and consciously and making the dragon was a quick and spontaneous experience.

The Fool is a being of youthful enthusiasm, gay abandonment and no fear for the future. He leaps with his rose in one hand and in the other hand, an impossibly small bag to carry his worldly belongings. The rose is an image of the Ideal world, while the small bag of possessions represents his very frugal needs. The Fool, for me, is an archetype for all beginnings. We never feel prepared enough, but have to let go of fear and trust that whatever happens will be for the best.

The Magician

For me, he is a mediator between the Fool and the world, a mercury-type character. In my life I have been involved in facilitating learning processes and building partnerships within and between groups of people. I have often felt like a juggler of many elements.

I tried to ‘catch’ the juggling magician in clay, in the middle of his movement, while he spins the objects in a lemniscate around his head. The lemnicate I made with copper wire. I give him the wings of Mercury at both of his ankles to express lightness and mercurial agility. His belt is represented as the Ouroborus, the snake with his tail in his mouth, the Egyptian symbol of infinity. The Magician can stand in all worlds simultaneously without losing his centre or his purpose. I sensed a very powerful but gentle spirit in the nature of the Magician. I could relate very easily to what that magical juggling means in life, being mother to five, development worker, artist and traveler, while trying to find balance and presence of mind. The magical aspect in life particularly comes from finding helpers miraculously along the way who manifest just when needed.

The Empress

Nature with its feminine foundation is what inspired me for the character of The Empress. Mother Earth, an archetype of prolific fertility and nurturing, is a dreaming being, deeply involved in creation. The Empress is the Fool’s physical mother being that manifests all the seasons.

I began the sculpture by creating the woven chair for her, which contained her pregnant belly. From there I built the figure upwards and downwards, and lastly created her head and face. I experienced a wonderful sense of play and childhood while I created the manifestations of nature around her, the old dead tree, the fruitful pomegranate tree, the river, water lilies, corn and the bird.

The Emperor

The Fool’s physical father figure in my journey is The Emperor. I spent some time trying to live into what it must mean to be truly masculine, earthed and strong. I sensed that The Emperor would be conscious and aware, as opposed to the dreaming feminine nature of The Empress. I imagined a scene that would call on the most courageous attitude. For instance, what kind of courage and steadfastness would it take to face a very large army of soldiers, knowing that you are outnumbered and still go forward.

My Emperor was built up from very strong legs and a large sword resting on the ground creating a threefold foundation. To contrast with The Emperor’s solidity and stability, I wanted his cloak to look as if it was lifted by the wind, to suggest a sense of softness and vulnerability behind him. It was surprising and rewarding to experience the ability of the clay to actually express lightness. I made a number of attempts to form the face of The Emperor until I was satisfied he looked mature and experienced enough to express the gravity, strength and courage of his character.

In addition to these four sculptures, I have completed a further six sculptures so far. I look forward to the continuation of my journey with the Major Arcana. I have just recently immigrated to Australia, which is the biggest leap so far in my life, and I am intrigued to see how my sculpture work will be affected by this change.

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