The Hermetic Order of the Golden Dawn took the tattvas out of Rama Prasad's book and turned them into an instrument. Each was given a geometrical figure and a colour: a dark oval for akasha, a blue circle for vayu, a red triangle for tejas, a silver crescent for apas, a yellow square for prithivi. Combined figures, a small triangle set on a square and so on, produced a grid of subdivisions covering every pairing.
The cards were used for scrying. The practitioner gazed at the coloured figure until the complementary afterimage rose, then used that as a doorway into a visionary landscape belonging to the element, a technique taught in the order's inner work and practised extensively by its members.
The route matters more than the technique. A term from Indian cosmology reached Victorian London through a Theosophical journal, was fitted to the four classical elements of Western magic plus spirit, given a colour scheme owing more to nineteenth-century optics than to any Indian source, and became a standard practice of ceremonial magic. The atlas records Rama Prasad against the English transmission rather than against the tattvas themselves, because that distinction is exactly what gets lost when the practice is described as ancient and Indian without qualification.