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What is received from on high, The Star, channel of universal generosity, pours toward the Earth to fertilize it.” Left: Le Toille from the Camoin/Jodorowsky TdM; Center: Le Toille from the Jean Dodal (1701) TdM currently preserved in the Bibliothèque Nationale à Paris; Right: L’Estoille Jean Pierre Payen (1713) restitution deck by Yves Reynaud It is an odd mark Jodorowsky refers to (it has always reminded me of a set of lips), but it has precedent in the Dodal and Payen decks. In most of the other historical decks, the mark has been diminished and appears to be an ordinary belly button, or it is not present at all. In the Dodal and Payen, and well as the Noblet, the naked woman is flesh-colored, except for her face, which is strikingly white, like the Popess’s. In 1709, Madenié made her face flesh-colored like the rest of her body, and so it is in every historical TdM type-II, as well as Jodorowsky’s deck, contributing to the distinct impression that in his recreation of an authentic Tarot de Marseille, he and Phillipe Camoin cherry-picked (or outright contrived) details to further the narrative they had decided upon. So are the seventeen lines displayed in the Popess’s book a discovery of another harmonic resonance in the Major Suit or artifice introduced, consciously or otherwise, into Jodorowsky’s commentary? It is always a slippery slope, and even if we can find no antecedent, that does not in itself invalidate the image. Authentic symbols cannot result from focused, linear, rational thought. “They,” as Joseph Campbell writes, “are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source.” When people try to devise symbols, they end up with signs, which stand for something completely known, and of course they are known, for they come from that part of us that quantifies and qualifies, labels and categorizes. Jodorowsky makes an intriguing case for the connection between the Popess and the star woman, but he does not follow through. Further, he does not cite any historical precedent, and when we look at other cards, we see in the Noblet, the book has six lines, linking La Papesse to Le Chariot . This is not an obvious connection, but it is not impossible to make either: Jodorowsky writes, “The Chariot enters the world like a conqueror, a traveler, or an inseminating prince.” In the Pierre Madenié, the Popess’s book has sixteen lines, referring us to La Maison Dieu , which might be interpreted as representing the traumatic experience of birth. We could apply the same line of associative thinking if one of the TdMs featured a book with twelve lines: Le Pendu , hangs upside down, like a fetus preparing to be born. If a book had twenty one lines, we would no doubt see the world dancer in his/her vulvic wreath; and if it had twenty lines, that might signal a birth into an eternal life, from the womb of the tomb into an incorruptible spiritual existence. Rekare mimarlık.Giysi Giydirme. Pişirme Gıda. Medipol Balıkçılık. üniversitesi M.
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