thorhammer
I love this take on the 2-Wands. The traditional themes of holding the world in your hands, but being seperated from it, are so eloquently illustrated by the lonely figure of the scribe/cartographer with his map and magnifying glass. He is playing Godling, holding the map as though he controls the whole world with its likeness.
The magnifying glass further distances him from the world he longs to interact with, and the size of the map, stretched out as it is on the great frame of Wands, dwarfs him. He has his back to it, though, as though he doesn't realise its true immensity, possibility and promise, and doesn't want to. The windows onto the real world are high up, so he can't see out to compare his picture with reality, and they are blocked by cross-like symbols.
The Wand we can see in full looks almost to be growing out of the floor like a tree. Does anyone have any ideas about the significance of this?
\m/ Kat
The magnifying glass further distances him from the world he longs to interact with, and the size of the map, stretched out as it is on the great frame of Wands, dwarfs him. He has his back to it, though, as though he doesn't realise its true immensity, possibility and promise, and doesn't want to. The windows onto the real world are high up, so he can't see out to compare his picture with reality, and they are blocked by cross-like symbols.
The Wand we can see in full looks almost to be growing out of the floor like a tree. Does anyone have any ideas about the significance of this?
\m/ Kat