Cartography provides, through its products, the establishment of a reflective capacity on the spatial dimension of a given area. It corroborates that several spatial analyzes are elaborated portraying processes, phenomena and patterns of the Earth s surface. Despite this ability, over time, cartographic science has been subjected to the primacy of logical positivism, disregarding immaterial aspects and transcending what is observable, devaluing the dimension of the imaginary and the realities that can be represented, relegating them to the condition of reverie and unreality. In contrast, this perspective assumes centrality when dialogued with art. As an example fantastic literature is mentioned, which operates in the direct relationship between fiction and reality, making use, in many cases, of maps (among other representations) aiming at the spatialization of the universes where the narratives unfold. Cartography subsidizes and is subsidized by the imaginary, promoting the spatial representation of these immaterial universes. Thus, we will try to understand how the Fantastic Cartography represented in the imagined universe of J. R. R. Tolkien contributes to the understanding of the geographical relations existing in the author s imagination. For that purpose, it is necessary to visit the creational foundations of the imagined universe, going trough meanings and symbolisms expressed from experienced events that make up the construction of fantastic landscapes. As a consequence, interpretative repercussions that raise a reality given to multiple possibilities. The mapping and construction of an ardo graphy are the result of this same process. It is established as a result of interpretations forged from the reception, decoding and transformation of the information transmitted by Tolkien and which are shaped from a historical, cultural and cognitive background of the person who conceives it.