मेघदूत: "नीचैर्गच्छत्युपरि च 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: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Sunday, November 23, 2014

नवगिरे-तांबट आणि ड्यूररचा गेंडा...Had Navgire-Tambat Seen Albrecht Dürer's Rhinoceros?


I wrote a post 'गंगाराम चिंतामण तांबट: The Hidden Marathi Artist In A British Archive' on August 31 2011.  


There I said: "I wish to reproduce two pictures of Mr. Navgire-Tambat courtesy Yale Center for British Art, Paul Mellon collection. These drawings on paper were commissioned by Malet and the British artist James Wales.
How many better drawn Rhinos have you seen? Me none."

One of the pictures is this: 



A Rhinoceros in the Peshwa’s Menagerie at Poona, November 1790, watercolor and gouache

current location: Yale Center for British Art, Paul Mellon Collection.

In February 2014, I saw the following:


'Albrecht Durer's (1471-1528)  woodcut of a rare and novel beast is a magnificent product of the curious, questioning Renaissance mind.'

Courtesy: The Guardian and The Trustees of the British Museum.  

Regardless of whether Mr. Navgire-Tambat has seen the Durer's picture or not, he had seen a real rhino in the collection of Peshwa's.  That was not the case with Pieter Paul Rubens (1577-1640) when he drew a hippopotamus in 1616.

Daniel Margocsy writes on Nov 12 2014:

"...Large and aggressive, live hippos were practically impossible to transport in those days. In modern times, the first two hippos arrived in Italy in 1601, when the Italian surgeon Federico Zerenghi brought their skins from Egypt first to Venice, where he had them stuffed, and then to Rome and Naples, where he exhibited them. As luck would have it, Rubens was traveling in Italy at that time, and circumstantial evidence indicates that he probably saw these exhibits with his own eyes. Exotic animals were a prized painterly object, and it is no wonder that Rubens decided to picture this animal in his series of Hunts that he painted for Maximilian I, ruler of Bavaria..."

Location : the Alte Pinakothek, Munich, Germany

courtesy: Wikimedia Commons


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