Tarot and Christianity

We live in a Faustian age, as Oswald Spengler has indicated. Since the end of the Middle Ages man has gained power, he dominates nature, his wishes are fulfilled one by one, it seems. And in the 21st century, research, technology and digitalization give him a surfeit of satisfaction, so to speak; at least in the West he revels in all the earthly pleasures. Netflix, Amazon and co. deliver around the clock every day. And that is a temptation and test that Mephistopheles, with the authority of God, imposes on modern man, just as Goethe described it. In Job’s case, the test was still to experience all the suffering that the world can inflict on man, and yet to remain faithful to God. The Faustian man must prove that even all the joys that this world has to offer are not enough to tear his soul away from God.

“Without temptation there is no spiritual progress,” says Anthony the Great. Temptation finds its purpose in strengthening the free human will. And since Faust is the object of the wager between Mephistopheles and God, and since every temptation always runs in two directions, in this matter evil itself could be tempted by good, if, indeed, if the Faustian man would pass this test and return to God as in the story of the prodigal son.

The Tarot and Christianity. Two irreconcilable things? I can only say that the study of the Tarot had made possible my return home, the transformation from a notorious nihilist back to a Christian, especially by reading the “Meditations on the Tarot” by Valentin Tomberg. But doesn’t the Tarot contradict church doctrine? The Catholic Catechism says in paragraph 2115: “God can reveal the future to his prophets and other saints. The Christian attitude, however, is to trustingly entrust the future to Providence and to refrain from any unhealthy curiosity. Whoever lacks the necessary foresight acts irresponsibly.” But the Tarot serves precisely this unhealthy curiosity that asks about the future, doesn’t it?

It becomes even clearer under paragraph 2116: “All forms of divination are to be rejected: The enslavement of Satan and demons, necromancy or other actions that are wrongly assumed to “unveil” the future [cf. Dt 18:10; Jer 29:8]. Behind horoscopes, astrology, palmistry, the interpretation of portents and oracles, clairvoyance and the questioning of a medium, there is the will to have power over time, history and ultimately over people, as well as the desire to make the secret powers inclined. This is contrary to the reverence we owe to God alone.” The Catechism is clear and precise in this regard, and in the passage quoted in Deuteronomy, there is indeed an urgent warning against sorcerers and fortune-tellers.

Sorcery and magic exist in this world, the Church knows that, and I refer especially to the Catholic Church, of which I am a member. Pagan secret knowledge has been kept alive until our days and there was and is the “wisdom of the princes of this world” symbolized by the image of the serpent, which is different from God’s wisdom in the sign of the dove, the symbol of the Holy Spirit. The Church Fathers saw in the pagan myths and symbols forebodings of Jesus Christ. The Apollonian concept of the Logos, did it not find its completion in the revelation of the Messiah? The church writer Origenes (185 to 254 A.D.) considered the secret knowledge of the Egyptians, the hermetic writings and the manifold teachings of the Greeks about the divine to be precursors of Christian salvation history. When we speak here of the “princes of this world” (1 Cor 2:6), then according to Catholic doctrine this refers to fallen entities of the heavenly hierarchies; hierarchies on the left, who act within the framework of the law as accusers and tempters of strict justice (in the Freiburg Cathedral the “prince of the world” is part of the sacred group of figures in the tower porch).

“One knows how manifoldly in the Middle Ages, partly under Arab influence, the idea of world potencies or “intelligences” (which were partly understood as thoughts of God, partly as angels) had an impact on Christian natural philosophy, but above all, as in the Renaissance – when these speculations continued – also the re-translation of the Jewish-mystical Kabbalah into Christianity occupied the best minds. Already a great number of Church Fathers had, it is now noticed, given the mysterious Hermes Trismegistos a place of honour among pagan prophets and wise men, hermetic books had circulated in the early and high Middle Ages, later the Renaissance celebrated him as the great contemporary of Moses and forefather of Greek wisdom (one remembers his venerable image, inlaid in the floor of Siena’s cathedral)”. (Hans Urs von Balthazar)

The Tarot reflects the symbolism of the wisdom of pre-Christian antiquity that was resurrected in the Renaissance. Even if the origin of the Tarot has not been definitively clarified, this can certainly be said in the form. Its roots reach into the world view network of Orphic mysteries, Gnosis, Platonism, Neoplatonism, Pythagoreans and Mithraics. Probably in the 15th century the Tarot was transmitted by Byzantium and the Sufis via the east-west interface of Venice (Dai Léon, Origins of the Tarot) and then passed on to Ferrara and Milan, from where it became more and more spread and popular as a card game. It represents the spiritual legacy of a historical period in which the Son of God entered this earth. 

In fact, today’s Tarotists often refer directly to this ancient pagan philosophy, worship Hermes or Zeus, the witchcraft or even unspecifically to a so-called non-dual perennial wisdom. Or they rather believe in a cosmic evolution that will eventually secure a place for man on a golden throne, an evolution that will make man all stronger and more powerful. First stone, then plant, animal, man and finally god. Christ is then not much more than someone who serves as an example for a person who wants to become divine and almighty by his own power. But wasn’t that exactly the temptation of Jesus in the desert? Are the cards in the end the devil’s prayer book indeed …?

But I do not want to become bitter. Without these mysterious, beautiful and true images (because, as Origen says, the “prince of the world” himself believes these things to be true and does not give them to people to harm them), without these images and the fascination they hold for me, wouldn’t I still be a nihilist? And has not the Tarotist (and also the astrologer) of today long ago overcome the magic and fortune-telling of yesteryear? Haven’t the cards long ago ceased to be the tools of self-appointed masters and become the helping hand of loving servants? As Pico della Mirandola (1463 to 1494 A.D.), who had studied all this occult heritage and had also researched the Jewish Kabbalah, made clear: “I bear the name of Jesus Christ on my forehead and die gladly for faith in him. I am neither magician, nor Jew, nor Ismailite, nor heretic; Jesus is my worship, his cross I bear on my body.”

The tenth art. A small essay about the cosplay

The last decade of the millennium now behind us was the podium of the take-off of the supermodels so apostrophized. Everybody recapitulates this, provided they were born happily before 1980; only phenomena like Paulina Porizkova, known from Anna… Exile New York, or the iconic-singular Grace Jones, then the trouvaille of the anticipatory-visionary German Peter Brodbeck and his five-part gynaecium Christy Turlington, Naomi Campbell, Linda Evangelista, Tatjana Patitz and Cindy Crawford. These ultra-mannequins left the small coin behind and reached a level of creation never before seen … … … …

One should not judge an essay like this by its first four phrases. Even copywriters sometimes love the masquerade, even if it is only the bloodless and pretentious kind of some of our pathetic feature writers ∑:) The myth of the supermodels has gone down, that much is certain. There are a lot of models today, but all of them – and I’m willing to put up with appearing unfair after many sides here – are simply models. That means: all the pictures and photos of them have exactly the charm and charisma that the people behind the pictures simply lack. Normally every encounter with a model is a disenchantment and therefore a disappointment. In the picture still the goddess of seduction, in reality only Lieschen Müller. The art of staging models is and was a perfect interplay of many masters: Stylists, light technicians, outfitters, make-up artists, hairdressers and of course the photographer. The model phenomenon is one of the last great triumphs of photography, THE art of the 19th century.

Cosplay is THE art of the 21st century. Why? Cosplay goes beyond the art of comics, and, as we all know, comics, as the ninth art, is the unification and surpassing of the classical eight visual arts: painting, sculpture, drawing, graphics, architecture, photography, film and television. The comic gives back to the artist the possibility of sole authorship, which the development of film and television has snatched away from the author. The comic strip, unlike the great mass media, is thrifty, or at least it still is to the extent possible. Anyone can make his or her own “film” using the medium of the comic and reach a mass audience like television, which in YouTube, Amazon Prime and Netflix has merely presented itself with a new face but has essentially always remained television. The comic gives back to the individual the great potential to create what film and television can only achieve in a tremendous effort by a large number of people: to take the viewer on a visual journey through time and space, with the colours of painting, the sculptural plasticity of the dynamics of movement, the clear lines of drawing, the deep blackness of graphics, the tectonics of panels … And the comic can also do this in a way that reaches the masses, something that first photography, then film and then television were able to make possible for art in the 20th century.

Cosplay is necessarily the tenth visual art, the art of the 21st century. What distinguishes a cosplay artist? She no longer takes the viewer along on a journey, she herself sets out on a journey into a world that she only imagines at the beginning of her journey. The cosplayer pretends to be. Strangely enough – and this says a lot about the German mentality – doing things as if has a bad reputation here. To call someone a hypocrite is one of the deepest insults that bourgeois thinking knows. But the cosplayer doesn’t care about it and pretends to. And she does it with full justification, because it is one of the oldest wisdom, which is in the words: “If you can’t be it, then pretend to be it!” The longer you pretend to be the one, the more you practice in the manner, action and character of the role you want to play. The longer your path and the more persistent your patience – inevitably you will actually become more and more who you pretend to be. In truth, this is the very path that has made heroes and muses out of dreamers and enthusiasts from time immemorial.

To come back to the model: the pictures of the models are always more charismatic than the models themselves. Pictures of cosplayers, however, no matter how skilfully and professionally they are made, they always and inevitably remain colourless and empty behind the artists themselves, who pretend to reflect them; at least when the art of the cosplayer has reached a certain degree of maturity (by the way, this is what the educated citizen calls the height of creation 😉 A true cosplay artist has an aura, i.e. an aura that cannot be photographed, simply because the photographer does not capture it. The photographer always thinks only in pictures, while the cosplayer has long since fulfilled her role. She brings them to life, and this time NOT in the literary sense, but literally. She is fantasy made flesh.

Perhaps the epigenetics in the bodies of the master artists of the tenth art are already beginning to program the small hidden cartilage tip hidden in the auricle of every human ear into a truly manifest elf ear … if anything, the tenth art could only be surpassed once: this would be realized in the ultimate artist who no longer incarnates an imaginary role, but awakens that within herself to BE, which she herself IS in REALITY. The perfection. Rien ne va plus.

Eastern and the Tarot Symbol according to Rudolf Steiner

On today’s Easter Saturday it is obvious to take the great feast of Christianity as an occasion for a short journey into Catholic hermeticism. It is definitely not the case, as some believers suspect, that the Tarot contradicts the teaching of the Catholic Church. Pope John Paul II was familiar with the work of Valentin Tomberg, and a more accomplished connoisseur of Tarot symbolism and at the same time a more ardent advocate of Catholic doctrine than Tomberg could hardly be imagined. Yet Tomberg came from the Steiner school of anthroposophy. And for Steiner too, the Tarot was a medium whose importance and depth could hardly be overestimated.

On Easter Sunday every year the Pope proclaims his blessing urbi et orbi: “In resurrectione tua, Christe, coeli et terra laetentur! In your resurrection, O Christ, let heaven and earth rejoice!” Peace and joy, these are the key words of the two cards “The Star” and “The Sun” from the Tarot. In Alpha Beta Tarot these two cards stand for the letters P (ΡΥΘΜΟΣ harmony) and T (ΤΕΡΨΙΣ joy). Both letters together form the Tarot symbol according to Rudolf Steiner: “All who were initiated into the Egyptian mysteries were able to read the TP (the Tarot symbol). They were also able to read the Book of Thoth, which had 78 pages and depicted all world events from the beginning to the end, from the Alpha to the Omega “1

Robert Powell writes: “Our letter “R” is derived from the Greek letter Rho (P) which is essentially a circle with a tail on it. Looking at the letter Rho, one can see that it is an imaginative representation of the human head and the spinal collumn together. Thus Rho represents the Human Being (…) On the other hand the Tau symbol relates to the very ancient impulse underlying the religion of Taoism (…) In the ancient Chinese religion Tao representd the force of nature, the force related to Isis in the ancient Egyptian mysteries. Tau represents the intelligent force of nature that is leading all the time to higher and higher levels of evolution. It is aforce with which we can connect and which guides humanity to ever higher levels on the evolutionary path. The Tarot symbol made up of Tau and Rho represents a coming together of the force of nature, the inner spirit of nature (Tao), symbolized by the letter Tau, with that which is represented by the letter Rho, which has to do with the human soul. Tarot – Tau plus Rho – is very often translated as “the Way”2

The Alpha Beta Tarot shows Jesus Christ, the Son of God as card 20, since this card is connected with the letter Ypsilon, and the Greek word for son, ΥΙΟΣ, begins with the letter Ypsilon. With Ypsilon also begin the words ΥΠΑΤΟΣ the first, the highest and ΥΣΤΑΤΟΣ the last, the extreme. And this brings us back to the letters Alpha and Omega, which are used in exactly this meaning when used as an attribute of Jesus Christ. On every Easter candle around the world that is lit on this holy night, the letters Alpha and Omega are written.

In the Revelation of John, Jesus Christ says, “I am the Alpha and Omega, the first and the last.” In Alpha Beta Tarot, Alpha is illustrated by the original unity of man and woman in one divine body. Alchemy tries to restore this original unity through transmutation in Opus Magnum and the figure of Rebis. The Omega is illustrated by Zeus Megistos, in personal union the supreme god of the Greeks, Zeus, and the supreme god of the Persians, Ahura Mazda. The scene depicted visualizes the Orphic hymn to Zeus, the first and the last, man and woman at the same time, as he ties a ribbon around all creation and devours it, following the advice of his grandmother, the night. In the end, everything returns to God, from whom everything came forth.

This is the mantra not only of Catholics, it is what all believers have believed at all times and it is what they still believe today, even if some call themselves agnostics or atheists. Do we not all come from the womb of Mother Earth and return there? This is a common ground for all humanity.


  1. Rudolf Steiner, The Misraim Service (Great Barrington, MA: Steiner Books, 2006) p. 375
  2. Robert Powell, in The Wandering Fool & Three lectures on Hermeticism (LogoSophia, San Raphael Ca, 2009) p.46

An interview with Nil Orange

Guest feature by Annegret Zimmer.

Article and interview with Nil Orange, published in issue 66 of Tarot Heute, the association newspaper of Tarot e.V.

To work with own decks is in many places today almost part of the good tone in the tarot scene. Artistically talented people all over the world get together and put their own view of the cards on paper. Experienced consultants like Rachel Pollack or Benebell Wen even create their very own decks. Here in Germany, such tendencies have so far met with a rather reserved response. Nevertheless, even among the members of the Tarot e.V. it is estimated that besides some professionals there are also quite a few creative people at work, who – often for “home use” – deal with the design of single Tarot cards or whole decks. Every time we are happy when artists join us, who develop their own idea of Tarot in their paintings and let us participate.

For some time now Nil Orange has been a member of Tarot e.V. The native of the Upper Palatinate is now at home in Würzburg. As a communication designer, he has also been working as a draftsman for more than 30 years. On his homepage https://nilorange.de you can learn more about him. Nils’ pictures, which have echoes of symbolism and magical realism, include card sets, comics and picture stories. The artist is intensively engaged with symbolism and has been keeping his digital sketchbook since 2004.

The Orange Luna Tarot has been around since 2015 and owes its almost lyrical name to the collaboration between Nil Orange and the Argentinean astrologer Alejandro C. Luna. The cards are in English. There is also an English booklet, which is available online.

The booklet is deliberately not intended to provide an explanation of the Tarot cards – there are already several good books on this subject, according to Nil Orange – it only contains keywords for the individual cards, but broader considerations of the connection of the series of the great arcana. But to go into this would lead too far here. The cards were created as digital colored analog drawings. Basically there is a parallel to the way tarot cards were produced in the past, only that the technical requirements are different today. Looking at the cards you can make a lot of discoveries. As a model for the series of the Major Arcana the artist used the trump cards of the time-honoured Tarot de Marseille. However, as he writes in the “Preface” of the cards, he also wants to make references to the Dellarocca Tarot and to the works of other famous Tarot artists like Pamela Colman Smith, Oswald Wirth, Gabriel Goulinat or Jessie B. Parke.

The world of France in the 18th century serves him as a living background. The order of the cards is of course the same as in the Marseilles Tarot. There is also an assignment of the signs of the zodiac, which starts with Aries at the Fool and goes up to card 11 The Force, to which the Pisces are assigned. This classification does not correspond to the system of the Golden Dawn, which incidentally seems to be less considered in these cards than usual. Furthermore, the Hebrew alphabet is also transferred to the cards. In the booklet you can study a collection of terms for each card, which begin with the respective letter, provided that you have knowledge of Hebrew.

There are many cards that, like the ruler, very accurately reproduce the old images of the Marseille Tarot, even when the protagonists appear in modernized garb. Other pictures show details that differ from the original version, such as the wheel with a real classical sphinx or the hanged man with the halo. We then ask ourselves what the artist wants to draw our attention to here. Elsewhere, reality seems to be put in order, when the magician, in contrast to the original, wears a beard, while here it is the fool, who is walking around clean-shaven and youthful. And then there are also sharpenings in the depiction, such as the carriage, whose construction suggests that he can’t move at all, as the horses somehow don’t have a rear end. Is this a dummy?

When leafing through it, you immediately notice that all the cards, including those of the Minor Arcana, have been numbered. The fool carries the quality of the 0 as well as the number 22, so he takes the position at the beginning as well as at the end of the row of the Major Arcana. With number 23, the King of Wands continues. It is followed by the Queen, the Knight and the Page in front of the cards of the row of wands in ascending order. The numbering continues with the cups, swords and coins up to card 78 – Ten of Coins. Nil Orange sees the Tarot as a book, so what would be more obvious than numbering its “pages” from front to back? Besides, every card can serve as a quintessence. The only thing that is a bit unusual is that the Major Arcana bear Arabic numbers and not Roman ones. Faith Javane and Dusty Bunker use the same numbering in their book “Zahlenmystik – Handbuch der Numerologie”.

The cards of the Minor Arcana are divided into two parts and thus do justice to the original as well as the modern design of Tarot cards. In the lower third there is a field, which shows the respective symbols in the appropriate number on a coloured background in the usual way (wands red, cups green, swords blue, coins yellow). The upper area is occupied by a scenic representation, as it has been preferred since the Rider Waite Tarot. It shows people in action, whereby the contents only partly resemble the representation of the Rider Waite Tarot, in many cases they deviate from it. All Minor Arcana, including the court cards, are provided with terms. As usual, these terms are based on the meaning of the cards. The names rarely echo the titles of the Crowley Thoth cards. So the map 3 of the swords is subtitled here and there with “Sorrow”, i.e. “Mourning”.

Much more often, however, the terms tend to communicate with the meaning that the cards in the Rider Waite Tarot have, for example in the 6 of the goblets subtitled “Remembrance”. Card 8 of the swords is titled “Bond”, “Shackles” or even “Binding”, even if the picture is a little different from the one in the Rider Waite Tarot. The 8 of Cups, with the title “Abandonment” and a drastic depiction, very sharply illustrates the concept of “being abandoned”. As I personally appreciate the Tarot de Marseille as a kind of original Tarot, I am always happy to find a well thought-out book about these cards or an adequate redesign. With new decks I unfortunately have to realize again and again that the depth of the original cards is not reached or the interpretation of the symbolism of flowers and tendrils is pushed in a direction that is difficult to understand. All the more refreshing is this deck, which resurrects the centuries-old motifs by reproducing them in a new technique familiar to us, while at the same time allowing them to keep their 18th century robes. The crossover of symbols and illustrated card parts does not deprive us of the familiar scenic model for understanding the cards. And what can be done with the numbering of all the cards? That is something that everyone has to explore for themselves.

Interview with Nil Orange
By Annegret Zimmer, February 2020

Dear Nil, during our tarot weekend last year I got to know the Orange Luna Tarot and you as its creator. In this issue of Tarot Heute we present the cards to our readers. So please allow me to ask you a few questions.

How did you come to the Tarot cards?
I had my very first contact with the Tarot phenomenon at the age of 18, when a friend’s mother laid the cards with the famous Rider-Waite deck, designed by Pamela Colman Smith. But it was not until ten years later, influenced by the encounter with my wife Anna, that I became really interested. Since then, I have studied the Tarot, its history and its various artistic expressions a lot. The work of Robert M. Place had a particularly strong influence on me. Less interested in Divinatory practice, my main focus is on the origin and possible meaning of this mysterious world of images, the tracing of a 700-year-old symbolic language, which still provides relevant answers for today.

Why did you choose the classic Marseille Tarot as the model for the cards, especially for the Major Arcana?
Like many tarotists I was always looking for the one original and unadulterated Tarot deck ???? Paul Foster Case, himself the creator of the influential BOTA-Tarot, drawn by Jessie B. Parke, spoke of a mysterious and “true” deck he once saw. Meritorious artists have repeatedly tried to restore the authentic Tarot, such as the Tarot de Marseille by Phillipe Camoin & Alejandro Jodorowsky. The Argentinean Pablo Robledo does a wonderful job in restoring the old woodcut cards, which he makes in the same way as it was done in the 18th century. But maybe this one “true” Tarot does not exist at all; the Tarot lives and is constantly transforming. During the about one year work on the “Orange Luna Tarot” I read Valentin Tomberg’s book “Meditations on the Tarot”, a fascinating work that touched me very much. It moved me to reproduce the trump cards as closely as possible to the Marseille Tarot. Not slavishly exact, however, but too great was the desire to honour other models, such as the Papus Tarot Divinatoire, drawn by Gabriel Goulinat, or the Soprafino Tarot, designed by Carlo Dellarocca. The attentive observer will find some other details and quotations from the history of the Tarot.

All cards, including those of the Minor Arcana, are numbered consecutively. What is this all about?
The Tarot is actually a book (even if without binding), so what could be more obvious than to use a “pagination”? The numbering and also the layout of the Minor Arcana are inspired by the Grand Etteilla Tarot (etchings by unknown hand from the company Basan et Poignant), which has always impressed me aesthetically. Besides the advantage of being able to find any card very quickly, I like to use this additional number in a layout as an additional level of meaning, as a second quintessence, so to speak. The numbering follows the order of the Tarot cards as taught by Liliana Díez from Buenos Aires.

You developed the cards together with Alejandro Ch. Luna. How did your Argentinean-German cooperation come about?
In the mid-2000s I had designed two astrology fonts and made them available for free download (by the way, these fonts are still available for free at https://nilorange.de/5appen/appen008.html). Alejandro came across them by chance and thanked me by e-mail. So we got to know each other. When I had the wish to realize a cycle of visualizations of the astrological signs of the zodiac in 2013, I realized that I needed the support of a professional as an autodidact. When I asked Alejandro for his cooperation, he was passionate about this project from the very beginning and it was launched as a card set under the name “Visual Zodiac”. After the successful presentation of the deck in Buenos Aires in 2014, we set about creating the “Orange Luna Tarot”. Here Alejandro gave me free rein in designing the Major Arcana and contributed the ideas for the Minor Arcana. One can see the trump cards of the “Orange Luna Tarot” as a bow to the tradition of the medium; for the Minor Arcana, more precisely for the pip cards, our goal was to find completely new and innovative pictorial motifs as a counterbalance to this.

The Orange Luna Tarot is not your first collaborative deck. Before that you designed the Visual Zodiac cards. What is it with these cards?
The two card sets “Visual Zodiac” (2014) and “Visual Zodiac Pro” (2018) together form a rich and comprehensive translation of astrological terms into images. While the first deck with 78 cards has a certain analogy to the Tarot just by this number, the second deck with 39 cards is more a pure didactic tool. The structure of the “Visual Zodiac” is identical to the well-known Symbolon deck by Peter Orban and Ingrid Zinnel, drawn by Thea Weller: 12 cards for the 12 signs of the zodiac plus 66 cards for all combinations of the 12 signs. So it is not a Tarot in the classical sense, but with its abundance of archetypal images it can be used divinatorically. It can also be used as a means of self-knowledge and self-therapy for visualizations, dialogues, role-playing, psychodrama, psychosynthesis or meditations. Last but not least, it can also be used as a tool for the acquisition of astrological knowledge, the aspect on which “Visual Zodiac Pro” focuses: 11 maps for the planets, 12 maps for the houses, 4 maps for the elements, 3 maps for the dynamics and 9 maps for the aspects.

Where can you get the Orange Luna Tarot?
Through my website https://en.orange-folio.de. The deck does not include a printed booklet, but it is available online in English.

What has changed for you artistically since the Orange Luna Tarot was released in 2018? What are you currently working on and what are your artistic plans for the future?
In the last two years I have been working on a new card set, the “Alpha Beta Tarot”. One of the many theories about the origin of the Tarot motives is the so-called Lexicon Theory by Mark Filipas (https://bunkahle.com/Tarot/introduc.html). There the idea is put forward that the Tarot is quasi an “illustration” of the Hebrew alphabet. The connection to the Hebrew alphabet and especially to the Kabbalah has often been made in occult Tarot, but in contrast to this esoteric view, Mark Filipas shows with a wealth of examples that each card of the Great Arcana of the Marseille Tarot literally only depicts things where corresponding Hebrew words begin with the respective letter. Based on this interesting thought game, I was wondering what a Tarot would look like, which is based on the Greek alphabet in an analogous way. The result is the “Alpha Beta Tarot”, whose 24 Great Arcana (Mária Szepes said that a complete Tarot in reality contains 24 trumps) was completed in August 2019 and is now available in a Line-Art-Edition on Demand at https://orange-folio.de I am currently working on illustrations for the second volume of “AstroHología, Un paradigma holistíco de la Astrología”, a basic astrological work by Vanesa Maiorana and Alejandro Ch. Luna, which will be published in Argentina this spring. I have some plans for the future, about which I don’t want to say much yet; only so much that the topics tarot and astrology will certainly continue to occupy me.

P.S.: Currently I am following a trail of Dai León and Idries Shah, who are looking for the origin of Tarot in the tradition of Sufism and in Byzantine Christianity. Perhaps a Tarot still to be created is based on the Arabic alphabet…

P.P.S.: By the way, the Orange Luna Tarot was already completed in 2015 and since then could be ordered on demand in six languages, besides English, Spanish, Italian, German also in Hungarian and Bavarian.

Here is a small feature film:

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