RIDER WAITE TAROT MEANINGS PDF
Here's a list of the common meanings for the Rider-Waite and its many clones. Here is a quick reference to the meanings of tarot cards. . I have the original PDF version and it's great for little nudges about all the variations. Rider Waite Tarot myavr.info - Download as PDF File .pdf), Text File .txt) or Waite successfully presents a new dimension to their meaning in The Key to the. Here are some suggested meanings of the Rider Waite deck of Tarot Cards, including all the cards of the Major Arcana and the four Suits, which are the Suit of.
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rider waite tarot meanings pdf. Individual Tarot Card Meanings. The Tarot card meanings on this site feature Rider-Waite-Smith. Tarot cards, and are indexed. Once we have received this information, we will send you the Rider Waite. Tarot Pack .. Some books about Tarot will give a meaning completely different of the. Printable PDF Tarot Card Cheatsheet - Includes Reversed Tarot Cards - Rider- Waite Tarot Deck - Instant Download PDF #tarotcardscheatsheets.
Suit of Pentacles — governs all matters involving finances and money, health and creative outlets. Suit of Swords — governs the mind, perceptions and decision making including the struggles that often follow. How Does Tarot Work Most often tarot readings involve two people — one asking a question and the other who reads the cards. The person with a question shuffles the deck, thinking on that question, and cuts it.
The reader then draws a set number of cards that are laid out in specific patterns and interpreted for the querent.
Tarot Card Meanings & Interpretation
In working with the Tarot remember that cards can individually tell a story, a set of cards gives greater detail on that story — but the entire Tarot set also has a collective element that speaks to the commonalities in all Human experience, both in thought forms and emotion. Not necessarily.
However, many times people get blocked.
They cannot get past the self and the concrete world into something that is truly instinctive and built in faith. They help us access that creative, intuitive energy and see things more clearly. The face cards of the Tarot were added to a basic deck as trump cards, the entire thing resembling a game of Bridge. The game of Triumph became very popular and soon spread to other parts of Europe. This may have happened in part thanks to a book of cartomancy by Etteilla, setting the stage for a far more formalized fortune telling tool that included correspondences with the Hebrew alphabet and integrated ideas from Cabalistic mysticism.
By the 20th century the Tarot took hold in various esoteric societies including the Order of the Golden Dawn. From that point forward, use of the Tarot grew in metaphysical settings. The more material and information used to support an interpretation of the cards, the more solid and credible it becomes.
One can come up with temporary or possible conclusions at this stage, but with an understanding that they are not yet fully-formed, and will more than likely change over the course of one's research. The following step is optional, but it can be beneficial to record any and all questions, ideas and speculations before beginning the task of searching for answers. This is so that they will not be forgotten, and so that the directions in which one wants to go when researching can be better known.
Page 18 Step 4: Expanded Research After a solid understanding of one's chosen deck has been established, and a number of questions and speculations generated about it, it is finally time to continue one's studies away from the deck itself.
To begin, one should think up and seek out relevant material. This can include any resource that seems relevant to one's chosen deck, as well as the Tarot in general: books, videos, websites, etc. There are a number of different ways to go about this, and I will leave the particulars of the method one uses to research and records information up to individual preference. I can however, give some recommendations and tips for going about it. One important thing to remember to do is to approach every resource with a critical eye.
There are many resources about the Tarot that all have different things to say, and they can range from exceedingly informative and trustworthy to exactly the opposite. Hopefully, the participant in this process will have acquired a solid foundation of knowledge and experience with the contents of their Tarot deck and should be able to critically and objectively analyze the information provided by various resources to ascertain the validity of it.
Beware sources that do not explain or support their conclusions, leave out or grossly oversimplify important concepts and information, or do not acknowledge that other conclusions about the Tarot can be valid. Do not forget to question what they say, and do not hesitate to double or triple-check the legitimacy of any information they provide or assertions they make that seem even remotely questionable. To give an example of what subjects one may choose to research, in my own study of the Rider Waite Smith Tarot deck, I investigated Alchemy, various occult orders such as the Hermetic Order of the Golden Dawn, which the creators of the deck were a part of , Rosicrucianism, Freemasonry, the Qabala; Greek, Roman, Christian, Egyptian and Babylonian mythology, art and culture; as well as general comparative mythology and comparative religions.
I found that by studying these subjects, whether I did so in a very in-depth manner or did but a simple review of the parts of them I found relevant, I was able to better understand the deck and its history, origins and symbolism. Without this outside research, many elements of that deck would remain incomprehensible to me.
There are some symbols which can be interpreted based on one's own personal intuition and judgment alone, but there are also many that also require research and the consultation of outside Page 20 sources in order to be fully understood. For example, several cards in the Rider Waite deck have alchemical symbols in their imagery, which are made to only be understood by those with knowledge of alchemy.
Quick Reference to the Rider-Waite Tarot Meanings
This research may be a time-consuming and complicated task, but it is necessary if one wants to build a solid and well-rounded understanding of one's chosen deck, as well as the Tarot as a whole. Step 5: Synthesis Following a period of research, it is time to return once again to one's deck, to merge the information that one has learned directly from the cards with all that one has learned outside of them.
The specifics of how one achieves this are up to personal preference. This is the point at which one should work to synthesize the knowledge that has been acquired and begin the process of solidifying one's thoughts into conclusions. Conclusion of the Process By this point, the person who has followed this process may decide whether to research topics related to the Tarot, or return to examining and analyzing the cards, or move on to research other decks or subjects, or learn how to create Tarot spreads and practice doing readings.
Achieving a thorough understanding of the Tarot may inspire a number of different outcomes. This method allows its practitioner to develop a connection to and knowledge of the cards that is Page 21 personal, because they are essentially doing all of the learning themselves, building their understanding of the Tarot from the ground up.
What’s in a Tarot Deck
They should, by the end of this process, know their deck inside and out, and also have ample support to draw upon when reading or explaining any card in their chosen deck, describing what they think about it, and why, and how they came to their conclusions about it.
The use of this process should also help the practitioner to learn and be able to recall a large amount of information about the Tarot. For example, the person going through it has to study the cards and subjects related to them on their own, which means that any interesting details or patterns they notice will be all the more interesting and memorable because they discovered them. Their ability to remember what they learn over the course of this process should also be improved because of their practice in comparing, finding connections between, and synthesizing information about various aspects of the Tarot, which should further reinforce that information in their mind.
This process also gives the practitioner a basic grounding for performing readings of the Tarot. By requiring them to look at the cards comparatively, which is a very important component of the performance of a reading, they will gain experience in and preparation for reading the cards. The method will prepare them to explain their interpretations to their clients, and tie the imagery in the cards to information from all sorts of related subjects, which is important when one wants to be seen as a credible and knowledgeable Tarot reader.
This method also protects the practitioner from having their perceptions of the Tarot limited or negatively influenced by others' ideas about or teachings on the Tarot. This is because they start to learn about others' perspectives on the cards only after they have worked intensely with the cards themselves, and thereby have already begun forming their own perspective on them. Similarly, by allowing the practitioner to develop their own interpretations, without any influence beyond basic guidance in how they conduct their studies, this process promotes a direct and in-depth study of the Tarot, rather than preaching the adoption of a secondary perspective.
I unintentionally developed my understanding of the Tarot in a fashion similar to this method through what I felt to be a natural progression of learning.
I began by closely examining the cards in the Rider Waite Smith deck, and compared the cards to one another, looking for patterns, similarities and differences. As I did, I took note of the symbols and elements that I had discovered but didn't understand, and I tried to find out what they could mean and where they came from. From there, I discovered many connections between various subjects and the symbolism contained within the Tarot cards. I started to go through cycles which began with intense research, followed by a return to the examination of the Rider Waite Smith deck in an attempt to find how everything connected, a process which generated new questions and speculations, and which lead me to conduct even more research.
Before this all began, I was interested in the Tarot, but I knew very little about it. I would perform casual Tarot readings for friends and family, but after I laid out the cards in a spread I would read their meanings out of one of my Tarot books, for I was unable to interpret the cards on my own, since I knew so little about them myself. I was not truly reading the Tarot cards themselves at that time — I was reading a book about the cards.
Now, after going through my learning process, I am able to speak at length about any one card from my deck, without having to so much as touch a book. I can describe the fundamental imagery of many of the cards acutely from memory.
I can compare the cards to each other and speculate on what these differences and similarities might mean, and I can trace the origins of the deck and the symbolism contained within it. I still have a long way to go until I can consider myself an expert on the Tarot, for there are still many things about it which I am yet ignorant of. However I know I am miles ahead of where I began, when it comes to the understanding and comprehension of the Tarot cards, and I want to Page 23 continue to study and learn about them for many years to come, because they never cease to fascinate me.
It was created in the early 20th century by two members of a group called The Hermetic Order of the Golden Dawn, Arthur Edward Waite, an occult scholar and Rosicrucian, and Pamela Coleman Smith, an artist, theatrical designer and illustrator. Waite commissioned her to make a series of seventy-eight allegorical paintings that were to become a Tarot deck.
After the completion and publication of the deck, as well as The Pictorial Key to the Tarot: Being Fragments of a Secret Tradition under the Veil of Divination, a book written by Waite detailing his unique new theories on the interpretation of the cards, the Tarot grew more and more in popularity as a tool for divination.
At the present time, it is still one of the most well-known, popular and recognizable Tarot decks in existence. It has been recolored in several different editions, and it has influenced and inspired the creation of countless Tarot decks since then, some of which only draw on a portion of its imagery, and some of which are outright adaptations of it.
The Rider Waite Smith deck is also one that holds personal significance, as the deck that first piqued my interest about the Tarot. My parents owned a copy of it, and allowed me to keep and amuse myself with it. At the time I had a passionate interest in medieval Europe and Arthurian lore, so it was Page 24 no surprise that I took quickly to a deck of cards with illustrations featuring kings, queens, knights, castles, and various mythical creatures.
I enjoyed finding books about the cards and pondering their meanings, but my understanding of the Tarot was not nearly as deep then as it would later become. Nonetheless, at the time I had quite a lot of fun with them, and for me the deck evokes fond memories of those days. If I had not acquired that early interest in this particular deck, I do not know if I would have developed the passion for the Tarot that I have today.
I originally wrote it to assist in my own learning as I was studying the cards of the Major Arcana. Page 25 Elements Description Diadem White with hints of very light blue. The shape of it is of two half crescents, merged together in a single piece at the base, curving up and outwards in quarter-circle shapes on either side. In the middle of them is set a completely circular piece, which may be either spherical or flat, in the same color.
On the head of the figure. Figure The only parts showing are the face, neck and left hand. The skin is a medium brown color and the hair is pitch black.
Seated, facing straight forward, as if looking out at the viewer. Face and hair both match those of the Magician. Expression is serious and unsmiling half-lidded eyes, frowning slightly, eyebrows tilted slightly down. Is somewhat androgynous, having a face bearing no truly defining feminine or masculine qualities besides its almond shape, with no breasts apparent under the robes. The left hand, which is the only one visible, has three fingers that can be seen, is holding the scroll.
Located in center of the card. Cross A white cross of which all the extruding parts are approximately the same length, with none shorter or longer than the others, at the center of the figure's chest.
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Does not appear to be held up by anything, but it could be attached like a pin to the robe, or held up by any one lines curving down to it, like a necklace. However, it could just as well be floating in the air in front of the figure's chest.
Impossible to tell. Under-Robe White with blue shadows, a fabric which gives the impression of being shiny, light and thin, draping down from the shoulder, with many folds curving down from both shoulders approximately the same, and then flowing out from under the mantle and out over the knees, with less folds shown, but instead it has a smooth and then a rumpled texture, slightly resembling a waterfall.
Mantle, Pure light blue, matching the blues used in the rest of the card. Unlike the under-robe, the over-robe mantle is not shiny and is not shaded. Coves the figure's shoulders, right arm, lap and left side.
Gives an impression of being a sturdier, less flimsy fabric than the under-robe. Worn by the figure on shoulders and lap. Scroll A gray-colored scroll unrolled a little, held by the left hand of the figure. Disappears under the right side of the mantle. Four letters are written upon it — TORA.
They are oriented away from the viewer so that the figure can read them. On the lap of the figure, held close. Cloth on Blue, the same color as the mantle, ruffled at the edge, and slanted so that it is drawn up Head near the face and lowers as it approaches the edge of the shoulders. Comes out from underneath the diadem, frames face of the figure and lowers down to its shoulders.
On head of the figure, under the diadem, over her robes. Pillars One is gray with black lines and the other is black with gray lines. Their bases are round and thick, and the pillars themselves rise up from the bases, getting slightly smaller going up, and then expanding out in a curved sort of cup-like shape on top. The cup-shape begins almost exactly at the top of the crown word by the figure.
On the bottom of this cup-shaped part there is a pattern of overlapping shapes and lines, five triangle-like shapes on each with three of the five overlapping the Page 26 last two, like the petals of a flower.
The gray pillar is the only one with shading, indicated on the right side of the pillar with a series of short horizontal lines. On either side of the figure, in front of the throne but behind its legs. Rather short — they would most likely be only a little taller than the figure, if they were standing. Veil Light gray cloth with a pattern of black leaves and branches as the background, on which is a pattern of pomegranates and palms.
Seems to attach to the tops of the pillars on the opposite side from the viewer, so it cannot be seen how they are held up.
Only slightly wider than the block on which the figure sits. No folds can be seen in the fabric of it, if indeed it is fabric. In fact, there is nothing in its appearance to suggest that it is made of fabric, or that it might not be stone or some similar material. Pomegranate Seen as if cut open like a cross-section at the middle, with fat sides and thin stems in s bright yellow, with little bumps at the bottom of them.
Vibrantly red seeds and insides. Seven can be seen in total — three peeking out on either side of the figure, and one above their head.
Depicted on the veil. Palms Seen with a thin long yellow inside surrounded by green leaves, spiky and splayed out on either side, with three little leaves on top. Only four palms are fully visible, falling above and on either side of the figure, while two have leaves and or fruits peeking out from behind the sides of the figure near the bottom of the curtain. Background The sky is clear, the water is relatively placid, and land, and possibly mountains, are hinted at in the distance. All are the same shade of light blue.
The bottom of the card, the surface on which the figure sits, is bright yellow and smooth, suggesting a floor rather than a beach. The horizon line falls at approximately the bottom of the white cross on the figure's chest, and appears to be, by sight and without measuring, diving the card almost perfectly in half.
Located behind figure, pillars and veil. Crescent Yellow, thin and rather large, a very new moon sort of crescent. A small strand of the dress worn by the figure flows over it like water, and that part turns yellow as it goes over the crescent.
The crescent itself stands up on its own accord, with nothing apparently holding it upright. Comes up almost to the knee of the figure. Placed at the feet of the figure. The edge on the left part of the card is more visible than the right. In the bottom center of the card, being sat on by figure.
Possibly Symbolic Elements The following is a list of many of the elements in the High Priestess card that I would classify as Possibly Symbolic Elements, provided here as an example, that I have determined to bear potential Page 27 symbolic value based on my own intuition, prior knowledge and objective judgment. The cross on her chest and its color, shape and placement.
Her skirt and the way it flows. The fact that her entire body is hidden but her left hand. The crescent moon at her feet and its color, as well as the way her skirt changes color as it comes in contact with it. The block she sits upon, and the color and plain appearance of it. The veil, its appearance and its lack of folds or wrinkles. The pomegranates and palms pictured on the veil, the number of them, their color and arrangement.
The yellow floor or ground. An example of Step 2: comparison of cards In the Major Arcana, there are three cards which feature two pillars set on either side of a seated figure in the center of the card — the High Priestess, the Hierophant, and Justice Fig. Because of these strong similarities they are ripe for comparison, so I have decided to provide a number of observations that I have made about the similarities and differences between these cards here, as a demonstration of the second step in this process.
Page 28 Fig. Here is a small sample of the fruits of a thorough and detailed comparison of these three cards: Of the three figures, the High Priestess is the only one wearing light blue with some white while the other two are wearing primarily red. Of their crowns, those worn by the figures in Justice and the Hierophant are primarily gold, while the High Priestess's is white and light blue. Each of the cards incorporates yellow in some way, but not in any strikingly large amount.
When it comes to the pillars in these cards, all of them are approximately the same shade of light gray, save for the black pillar in the High Priestess. The pillars in Justice are by far the plainest, but have more texture than those of the High Priestess, while the Hierophant's are the most heavily textured, and decorated besides.
The pillars in the Hierophant are by far the thickest and most solid looking of all of them. As for the backgrounds, the High Priestess is the only one definitely located outside, while the Page 29 Hierophant is almost certainly indoors. There are only veils behind the figures and between the pillars in the High Priestess and Justice cards, while the Hierophant sits in front of nothing more than a blank wall.
The veil behind Justice is clearly made of fabric, is reddish-purple in color and undecorated, and it hangs down between the pillars so that no gap remains between the two but the space above the veil. The High Priestess's veil is decorated but has no folds, and there is a gap between it and the sides of the pillars. It may be cloth, but it could also be made of stone. The only card that has more than one person in it is the Hierophant.
The only two figures with visible feet are the Hierophant who has both feet visible and Justice whose right foot is visible , and both have feet shod in white. The Hierophant's footwear is adorned with crosses. I could continue on in this vein for some length, but I will refrain from doing so. Those who go through this method need not write down long descriptions such as I have done here.
Putting the cards together, examining them closely and mentally taking note of their similarities and differences should prove to be a much easier, but just as effective, exercise.
One can also, after doing this, work to determine which similarities and differences one has found in the cards may hold symbolic importance. How might this apply?
Example of Step 4: Use of Outside Information to Answer Questions Below is an example of some of the information that can be gathered from outside resources about the Tarot, specifically on the subject of the High Priestess card from the Rider Waite Smith deck. I shall simply provide the information here, without attempting to draw conclusions about it, or interpret it in any way.
Because of its name, it also has a strong connection to the Torah, an important Jewish religious text. It asserts that she has a connection with the goddesses Isis and Hathor, both of whom gave birth to the sun in certain tellings of Egyptian mythology.
It says, much like The Pictorial Key to the Tarot, that she is sister, mother and wife, Bright Mother and Dark Mother, and the one who guarantees the immortality of the pharaoh. Isis is associated with the Virgin Mary, for the imagery of Mary and the baby Jesus drew much inspiration from images of Isis and her son Horus.
The card, the Amberstones assert, joins together Egyptian and Christian imagery p. The Amberstones also have much to say on the subject of the crown the Priestess wears, for it is shaped much like the headgear of Hathor and Isis, with a round male sun disk placed inside the two protective, enclosing horns, which resemble a womb.
This is but a small sample of the type of information that one might find about this card in material related to the Tarot.
Step 5: Synthesis and the Formation of Interpretation. The following section features a handful of conclusions that I have drawn from my own studies Page 32 of this card.
These are only provided here as an example of this process, and are not intended to influence the perceptions or interpretations of the reader of this document.
From what I have learned in my analysis of the High Priestess card itself, as well as what I have learned about it from outside sources, I have a number of different ideas as to what meaning this card could contain. I have personally decided that there is enough evidence present in the card itself in the Priestess's tri- moon-crown and blue robes, which resemble items worn by depictions of Isis and Mary respectively, as well as the womb-like pomegranates on the veil between the pillars to support this connection, and it makes enough sense to me that I am happy to incorporate this information into my interpretation of the card.
From my own research into the subject of alchemy, I know it similarly associates the feminine with water, the moon and the colors white, silver and blue, in contrast to the masculine, which it associates with fire, the sun, and the colors yellow, gold and red Campbell and Roberts.
I have chosen to incorporate this information into my interpretation of the card, because the card itself features so many of those attributes. The High Priestess holds multiple depictions of the moon, a background featuring water, a skirt which has an appearance that suggests water, and a color scheme that incorporates a lot of blue and white.
Drawn from the information I have learned and my own personal convictions, I have interpreted this card as having strong associations with motherhood and mother goddesses, feminine intuition, the mystery of childbirth, the moon and water.
Conclusion I believe it is important to establish a method of studying the Tarot that places the focus on an Page 33 analysis of the cards which is both visual and comparative, and guides the practitioner in such a way that they are able come to an informed and comprehensive understanding of the cards for themselves. The process I have explained and demonstrated in this document is one that I believe fits those requirements. I hope it will be of assistance in increasing the awareness and discussion of the symbolism in the Tarot, and the most effective and beneficial methods for teaching and learning about it.
Page 34 Bibliography: This bibliography includes not only the sources that were cited in this paper, but also those consulted over the course of its development that were notably informative or helpful and yet were not specifically referenced here. Amberstone, Wald, and Ruth Ann. The Secret Language of Tarot. Angel, Velvet. CreateSpace, Battistini, Matilde, and Frongia Rosanna M.
Astrology, Magic, and Alchemy in Art.It is her whole book, though, free of charge. Or by copying them into a Word docx and deleting the images.
Just as an art historian might undertake a close examination of a certain painter's work in order to develop an understanding of it, so too is it important for the student of the Tarot to examine the art and illustrations that are inherent in the cards. Card Meanings Each tarot card has a different meaning or character. If she had, for instance, created a disclaimer that informed the reader that the following passage consisted entirely of her own personal beliefs about the card, then I would have had no contest with her assertions or their lack of support.
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