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."

Monday, December 15, 2025

व्हर्मीर यांचा ३५०वा स्मृतिदिन...Johannes Vermeer Painted what He Couldn’t Have: a Moment’s Peace

जी. ए. कुलकर्णी:

 "... अद्यापही एखाद्या Rembrandt किंवा Vermeer सारख्या अद्वितीय चित्रकाराच्या कृतीची मी Tolerable copy करू शकतो, पण (काव्याप्रमाणेच) मला स्वतंत्र चित्रदृष्टी नाही. पण यामुळे झाले काय , तर एखाद्या मासिकात काव्याकडे ज्याप्रमाणे प्रथम लक्ष जाते, त्याप्रमाणेच चित्राकडे जाते...."  

John Berger, 'Portraits: John Berger on Artists', 2015:

"... THE ESSENTIAL CHARACTER of oil painting has been obscured by an almost universal misreading of the relationship between its ‘tradition’ and its ‘masters’. Certain exceptional artists in exceptional circumstances broke free of the norms of the tradition and produced work that was diametrically opposed to its values: yet these artists are acclaimed as the tradition’s supreme representatives: a claim which is made easier by the fact that after their death, the tradition closed around their work, incorporating minor technical innovations, and continuing as though nothing of principle had been disturbed. This is why Rembrandt or Vermeer or Poussin or Chardin or Goya or Turner had no followers but only superficial imitators..... "

हे वाचून जीएंना कदाचित कमी वाईट वाटलं असतं. 


 Woman Writing a Letter, With Her Maid (c1670)

"Johannes Vermeer is art’s great painter of stillness. The majority of his pictures show little more than women engaged in silent tasks and quiet contemplation – reading or writing letters, toying with jewellery, pouring milk. Occasionally they sit at a virginal or play a lute; once or twice a gentleman caller visits for conversation or song. But the sounds Vermeer’s pictures radiate are muted, never raucous.

Except for just two pictures, his mature work is set entirely indoors – a sealed environment where doors can be closed, secrets hidden, and the wider world kept safely on the other side of the windows he painted so often, as if glass was as strong as armour. This is the world of Vermeer’s paintings but it was not Vermeer’s world...."

 व्हर्मीर  यांच्या ह्या चित्रात किती शांतता वाटते... 

पण असे म्हणतात "The serenity of Vermeer’s art is a beautiful mirage. Painting can be a form of wish fulfilment, and Vermeer painted what he couldn’t have: a moment’s peace."'

जीएंचे  व्हर्मीर शी नाते ह्यामुळे सुद्धा जवळचे आहे का?

 

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