Western Geomantic Divination: Pictures for the Geomancy Figures

One of the forgotten and less-used divination systems of the Western esoteric mysteries is geomancy. Not to be confused with the Eastern system of Feng Shui (which is also referred to by the term "geomancy"), Western geomancy is a method of divination that uses a series of dots as its initial symbol set.

Originally, a divination system from Africa, the Western world learned geomancy though interaction with Arabic magicians. The Arabic magicians practiced the art of geomantic divination by making points (dots) in the sand; the Hermetic magicians of the Western world preferred parchment paper and ink; the modern magician uses stones, coins, sticks and dice to create the geomantic figures.

Considering how easy it is to generate the geomantic figures (one merely needs a way to randomly generate odd and even numbers), it is surprising how little the art of geomancy is practiced among Western occultists. Even its Far-Eastern counterpart, the I-Ching is more widely known in the Western World.

One of the barriers to learning geomancy for many people is that the geomantic figures just appear like a random set of dots; or in a pure text media, a set of weird looking numbers made up only of ones and twos (examples: 2121 and 1221).

Another barrier is the cookbook, one size first all method of interpretation that the Victorian occult world imposed upon the system, a method of interpretation that the modern occult revival has yet to completely overcome.

A way to overcome both of these barriers is to create a set of personal mental pictures for the geomantic figures.

According to Richard Webster, author of Omens, Oghams and Oracles, the idea of using pictures created by the pattern of dots as a mnemonic device is a modern one; Webster was shown this method by Dusty Cravens, author of Runic Geomancy. But if one looks at the evolution of the names and meanings of the geomantic figures over the course of their known history, one discovers that the association of mental imagery to the figures is probably the oldest and most basic aspect of the geomantic art.

The Hermetic magician of Agrippa's time definitely associated images with the geomantic figures; both the traditional Latin names and the use of sigils (seals) attest to this fact.

The basis of creating meaningful pictures for the geomantic figures lies in the art of connecting the dots; this is also the way that the sigils of the geomantic figures are formed.

We are all familiar with the human ability (tendency) to create pictures and meaning out of dots and other visual information randomly placed. The whole field of abstract art depends upon this habit, as well as ink blot tests. We even subtly reinforce this tendency in our children though the media of connect the dots coloring books.

But before we turn our attention to creating imagery for the geomantic figures, we need to be clear about the notation of geomantic figures in a pure text media.

Geomantic figures consist of four lines of dots (points); each line either has a single or a double (two) dot in it. Each figure can be written in pure text as a series of four numbers (digits), using one to indicate a single dot, and a two to indicate a double point. The infamous Aleister Crowley used this method of notation.

The first number in the series is the top line of the geomantic figure, also known as the "head" of the figure. The second number indicates the second line of the figure, also known as the "neck". The third digit is the third line, or "body" of the figure; and the final number is the bottom line of the figure, or "feet".

Using this scheme, the number 2121 would indicate a figure with two dots in the first and third lines, and one dot in the second and fourth lines. Let us now look at the geomantic figures and some of the possible images that can be formed from the pattern of their points.

(For the purposes of this essay, we are using the binary progression sequence rather than the zodiacal progression sequence that most authors use; one reason for this is that there are conflicting ideas among the geomantic authorities about the proper assignment of the planets and zodiac signs to the figures of geomancy. The other reason to use the binary sequence is simply ease of use.)

The first figure Via, 1111, consists of a single dot in all four lines. This is the simplest of figures, as is its image: a straight vertical line. We do not need much imagination to connect it with the English translation of its traditional Latin name Via, which means "road, way or path".

The second figure of geomancy, 1112, is Cauda Draconis, "the tail of the dragon". In traditional Western astrology, the tail of dragon is the south node of the moon (the place where the moon crosses southward across the ecliptic path of the sun); the south node is considered a point of decrease and endings. Geomancy expert, John Michael Greer (Earth Divination, Earth Magic) describes the image as "a doorway with footprints leading away from it". Callia Underhill (The Witch's [Wicca] Book of Divination) calls this figure "the Underworld".

The third geomancy figure, according to the binary progression sequence, is Puer, 1121. The English translation of Puer is "boy", leading many to use a sword (or male genitalia) as their mnemonic for this figure. This is reinforced by the Hebrew name for this figure: Nilcham "the fighter".

Fortuna Minor, 1122, "Minor (Lesser) Fortune" is typically seen by most as an upside down chalice. Webster uses the image of luck coming up from the earth for this figure.

Puella, 1211, is the visual opposite of Puer. The English translation, "girl", leads many to visualize a female who may possibly have breast implants.

Amissio, 1212, "loss" is typically seen as a container spilling its contents (Greer: a moneybag; Webster: two upside down bowls). Underhill calls this figure "the Pentacle".

Carcer, 1221, "prison" is "an enclosure" according to Greer. Underhill considers it, "a knotted cord". One can also view it as a person with their hands and arms bound behind their back.

Laetitia, 1222, "joy" is assigned widely varying imagery. Underhill calls it, "the Gateway". Webster uses the image of an upright rainbow while Greer considers it "a tower". The Hebrew name is also suggestive of another image: Nisho Rosh, "main joy" (one's wife).

Caput Draconis, 2111, "the head of the dragon" is visually opposite to Cauda Draconis. Astrologically, it is the north node of the moon, a point of increase and new beginnings. Greer describes the image as "a doorway with footprints leading to it". Underhill calls it "the Summerlands".

Conjunctio, 2112, "conjunction" is another astrological based figure traditionally. The modern reader of English is more likely to associate it with the letter X. Greer describes it as "crossroads", and Underhill calls it "the Great Rite". Those familiar with the Elder Futhark (Runes) might associate its image with the rune Gyfo, "gift". Esoteric Christians may associate this geomantic figure with the cross of Saint Andrew.

Acquisitio, 2121, "gain" is typically pictured as a container with wealth being poured into it (Greer: moneybag; Webster: two full bowls). Underhill calls this figure "the Cauldron".

Rubeus, 2122, "red" is most often described as an upside down wine goblet; unfortunately, this imagery conflicts with some occasionally used for Fortune Minor (1122). One is probably better off using Underhill's name for this figure "the Censer"; those familiar with Golden Dawn may link it with the Altar and the Temple offerings.

Fortuna Major, 2211, "Major (Greater) Fortune" is probably easiest to imagine as an upright and filled chalice. Webster describes is as luck descending from above.

Albus, 2212, "white" is most often described as a full wine glass; one must consider possible conflicts with Fortuna Major's (2211) imagery. Underhill calls this figure "the Altar".

The figure of Tristitia, 2221, "sorrow" generates various images. Greer describes it as "a stake driven downward", and Underhill calls it "the Guardian". Perhaps the best idea is Webster's upside down rainbow.

The final of geomancy is Populus, 2222, "people". Most practitioners quickly learn to associate this figure with a crowd. Underhill calls this figure "the Coven".

We close with a caution from Underhill that should be extended to any imagery that you chose to associate with the figures of geomancy:

"Note that you should not impute the 'favorability' or 'unfavorability' of these geomancy signs to the things after which they are named. The Cauldron is no more a 'favorable' tool in the Craft than the Pentacle; the Lord of Death is not evil or bad and so on. These are only symbolic associations made for the purposes of geomancy."