Art of Divination: A Visual History of Oracles, Prophecy, and the Search for Secret Knowledge by Owen Davies
Description
A global history of divination practices and tools, from tea leaves and tarot cards to pyromancy and palmistry
Throughout history, humans have aspired to explain the unexplainable, to understand phenomena beyond our control, and to peer into the future. In this captivating book, Owen Davies explores the global history of divination practices that seek to answer questions that range from the philosophical and metaphysical to the romantic and personal. Davies frames divination as a diverse array of activities that overlap with art and science. He emphasizes the artistry and craft of divination practices, which often require tools and manuals; these objects are at the heart of the book, accompanied by an exploration of the techniques of foretelling the future and revealing the unknown.
Organized into six thematic groups—observing the natural world; making patterns; communicating with gods and spirits; signs from the human body and mind; looking to the heavens; and chance and calculation—Art of Divination allows readers to see connections between different ages and places. From the Romans looking to the flight of birds, to Renaissance tarot cards, and to modern-day fortune cookies, Davies reveals the timeless desire to transcend the human condition and the wide and varied practices that people have devised to do so.
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Before Aleister Crowley, before Arthur Edward Waite and Pamela Colman Smith, before the Golden Dawn, before Papus, Éliphas Lévi, and Etteilla, the first author to describe an occult version of the Tarot was Louis-Raphaël-Lucrèce de Fayolle, comte de Mellet, writing in Antoine Court de Gébelin’s, 1781, eighth volume of his monumental encyclopedia, Monde primitif.
The comte de Mellet associated the Tarot’s trumps with the Classical Ages of Man: the Age of Gold, the Age of Silver, and the Age of Iron. He correlated the Trumps with the letters in the Hebrew alphabet, he described the minor suits in detail, and he provided the earliest discussion of a divination technique for the Tarot.
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In 1977, the Newlyn Gallery in Cornwall exhibited a series of 78 taro designs quite unlike any previous. Ithell Colquhoun’s bold project seeks to dispense with the figurative narratives of the traditional taro and re-imagines the forces behind each card as pure colour. Drawing from the pioneering work of Moina Mathers and Florence Farr in the 1890s, Colquhoun integrates the esoteric teachings of the Golden Dawn with surrealist semi-automatic techniques to produce a design for a taro deck that remains unique in Western esotericism.
Originally produced as a small limited edition of 100 copies by Adam McLean (Alchemy Web Bookshop, Glasgow), this rare deck has long been highly prized by collectors of taro. Our new edition is reproduced from high-quality digital photographic files of the individual designs that we commissioned in 2017. The cards are on a premium 400gsm stock with a matt lamination. For ease of use, the cards reproduce both the traditional and initiated Golden Dawn names. This deck is sold with an accompanying booklet which offers an essay by Richard Shillitoe that explores Colquhoun’s relationship with the taro, and Colquhoun’s own explicative text ‘Taro As Colour’.
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