मेघदूत: "नीचैर्गच्छत्युपरि दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Saturday, May 04, 2013

Which IPL Team Soliyas Mendis Plays For? He Can't Play in Chennai! He Can't Draw in Ajanta!

Mark Twain:

‎"So much blood has been shed by the Church because of an omission from the Gospel: 'Ye shall be indifferent as to what your neighbor's religion is.' Not merely tolerant of it, but indifferent to it. Divinity is claimed for many religions; but no religion is great enough or divine enough to add that new law to its code."


Oren Harman:

"Aristotle was a cynic. Sure, the Bible exhorts to “Love thy neighbor as thyself,” but he knew better. “The friendly feelings that we bear for another,” instructed his Ethics, “have arisen from the friendly feelings that we bear for ourselves.”"




"In March 1954, the Union Cabinet met and decided to unilaterally define the border of India with China. The colour wash was replaced by a hard line, and the Survey of India issued a new map, which depicts the borders as we know them today. All the old maps were withdrawn and the depiction of Indian boundaries in the old way became illegal. Indeed, if you seek out the White Paper on Indian States of 1948 and 1950 in the Parliament library, you will find that the maps have been removed because they too showed the border as being “undefined” in the Central and Western sectors.
What was the government up to? Did it seriously think it could get away with such a sleight of hand? Or was there a design that will become apparent when the papers of the period are declassified? Not surprisingly, the other party, the People’s Republic of China, was not amused and, in any case, there are enough copies of the old documents and maps across the world today to bring out the uncomfortable truth that the boundaries of India in these regions were unilaterally defined by the Government of India, rather than through negotiation and discussions with China."


Year 2013 has been characterized by a lot of negative news flow on Sri Lanka in Indian media. And on China and on Pakistan...Marathi media, particularly on China-Pakistan, have become even more bellicose than their Hindi/English counterparts..."India has been always been peaceful but should not be taken for granted etc"...


John Keay:

"...The classic expansion of Chola power began anew with the accession of Rajaraja I in 985. Campaigns in the south brought renewed success against the Pandyas and their ‘haughty’ Chera allies in Kerala, both of which kingdoms were now claimed as Chola feudatories. These triumphs were followed, or accompanied, by a successful invasion of Buddhist Sri Lanka in which Anuradhapura, the ancient capital, was sacked and its stupas plundered with a rapacity worthy of the great Mahmud...When, therefore, Rajendra I succeeded Rajaraja and assumed the reins of power in 1014, his priority was obvious. Sri Lanka was promptly reinvaded and more treasures and priceless regalia seized; prising open even relic chambers, says a Sri Lankan chronicle, ‘like blood-sucking yakkhas they took all the treasures of Lanka for themselves’..."

('INDIA A HISTORY: From the Earliest Civilisations to the Boom of the Twenty-First Century', 2000/ 2010)


I was stunned seeing pictures of Buddhist art of Sri Lanka in Frontline dated April 19 2013. I think some of the art gives Ajanta run for its money.


Apsaras, Mural, Sigiriya, c. 5th century.

Artist: Unknown

Photo Artist: Benoy K. Behl

And I didn't even know that such art existed...I have often wondered: Why do I know so little about my neighbourhood while I seem to know 'so much' about a country thousands of miles away? Have I really achieved freedom?



Sanghamitra brings the holy Bodhi Tree to Sri Lanka

Artist: Soliyas MendisMural, Kelaniya Vihara, early 20th century. 

Photo artist: Benoy K. Behl
 
"The painter Soliyas Mendis travelled to India in the end of the 19th century to study the paintings of Ajanta. When he returned to Sri Lanka, he created a new style of art, which has its roots in the gentle expressions and exquisite grace of the Ajanta paintings. His work represents a valuable link and continuation of the ancient style of Buddhist paintings. The paintings also display a close affinity to the style of the Sigiriya paintings and are distinctly Sri Lankan."


No comments: