![]() It also appears to have the spokes of a solar symbol beneath the larger moon, possibly representing a solar eclipse. It has the same runes, but are sharper and more refined than the stylized symbols in Clow Reed's circle. High Priest Yukito uses a magic circle based on Clow Reed's, as he was taught by Clow Reed himself, but instead of a Sun symbol, it has a second, bigger crescent Moon symbol at the middle, referring to his moon-based powers. 183), Xing Huo, and Syaoran Li (TRC Ch.219) and Kimihiro Watanuki (XxxHolic Ch.213). This magic circle is the same used for Fei Wong Reed (Ch.Clow's magic is also a mixture of both Western and Eastern magic (having an English father and a Chinese mother), so it also has both Chinese and English characters on it.In contrast to Clow Reed's magic circle, Sakura's star takes centre-stage, holding the sun and the moon in place, the yin and yang in her magic kept in balance. This imbalance that caused Clow Reed's problems was also the reason behind his unusually-long life span. The arrangement of the sun and the moon in the circle highlights the nature of the imbalance the sun takes centre-stage, while the moon is pushed to the side the balance of Clow Reed's magic is tipped in favour of yang over yin. Clow's magic is symbolized by "light and darkness". It has the image of the sun in the centre, and next to it is the moon. The figure for Clow's magic circle consists of a 12 point-star, with the symbols of the cardinal points inside the corners. 4 Syaoran Li's Magic Circle (Cardcaptor Sakura).Christopher Wood, Victorian Painting, London 1999, pp.236-242.ĭoes this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you. ![]() Waterhouse, Oxford 1989, pp.37-8, reproduced p.36. When the picture was exhibited at the Royal Academy in 1886 the critic for the Magazine of Art wrote 'Mr Waterhouse, in The Magic Circle, is still at his best - original in conception and pictorial in his results' (quoted in Hobson, p.37).įurther reading: Anthony Hobson, J.W. The meaning of the picture is unclear, but its mystery and exoticism struck a chord with contemporary observers. But within its confines are flowers and the woman herself, objects of beauty. ![]() Outside the circle the landscape is bare and barren a group of rooks or ravens and a frog - all symbols of evil and associated with witchcraft - are excluded. With the wand in her right hand she draws a protective magic circle round her. In her left hand she holds a crescent-shaped sickle, linking her with the moon and Hecate. Her dress and general appearance is highly eclectic, and is derived from several sources – her hairstyle is like that of an early Anglo-Saxon and her dress is decorated with Persian or Greek warriors. The woman in this picture appears to be a witch or priestess, endowed with magic powers, possibly the power of prophecy. This is one of Waterhouse's earlier works, and reflects his fascination with the exotic. His oeuvre also includes a number of middle-eastern subjects, in which he drew on the work of contemporary artists such as J.F Lewis (1805-76) and Lawrence Alma-Tadema (1836-1912), rather than on actual experience. More specifically, the notion of woman as enchantress is one that recurs in images such as Circe Offering the Cup to Ulysees (1891, Oldham Art Gallery) and Hylas and the Nymphs (1896, Manchester City Art Gallery). Miracles, magic and the power of prophecy are common themes in Waterhouse's art.
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