जेणे पावो देखिला.....Kawanabe Kyosai's Indian Elephants

जेणे पावो देखिला। तो म्हणे हत्ती खांबा सारिखा॥
 जेणे कानू देखिला। तो म्हणे हत्ती सुपा सारिखा॥  
जेणे सोंड देखिली। तो म्हणे हत्ती मुसळा सारिखा॥.

 

Famous Elephants Imported from India at Play

Artist: Kawanabe Kyosai, 1862

 

The Oxen and the Axle-Trees

The Oxen and the Axle-Trees

A HEAVY WAGON was being dragged along a country lane by a team of Oxen. The Axle-trees groaned and creaked terribly; whereupon the Oxen, turning round, thus addressed the wheels: "Hullo there! Why do you make so much noise? We bear all the labor, and we, not you, ought to cry out." Those who suffer most cry out the least.

(Aesop's Fables)

Artist: Edward Julius Detmold (1883-1957), The Fables of Aesop, 1909

what a great illustration!
 

The Difference Between Million and Billion Or Craft and Art?

Artist: William Hamilton, The New Yorker, December 1994

Ladders in Ghar Aaya Mera Pardesi, Awaara and William Blake's Depiction of the Biblical Story of Jacob...

#Awaara70  #Awaara

70 years ago on December 14, 1951, Awaara (https://en.wikipedia.org/wiki/Awaara)  was released

Does ladder in "Ghar Aaya Mera Pardesi", Awaara, 1951 lead one to heaven?

Below: (now the late) Raj Kapoor and Nargis in the film courtesy the existing copyright holders of the film

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pictured here, William Blake's ca. 1805 depiction of the biblical story of Jacob and his dream of a ladder leading to heaven (https://en.wikipedia.org/wiki/Jacob%27s_Ladder).

काय आहे मागच्या सीटवर? डेड बॉडी?...Robert McGinnis

Artist: Robert McGinnis  (1926-)

Scream!...Charles Addams at Cinema

Artist: Charles Addams, 1947

सुंदर ताता झाले ...आणि त्या नंतर आले नाशिकचे ९४वे मराठी साहित्य संमेलन...My Late Father and Literary Meet

कवी गोविंद (गोविंद त्रिंबक दरेकर):

"सुंदर मी होणार, आतां सुंदर मी होणार !

सुंदर मी होणार । हो । मरणाने जगणार ।धृ.।

..." 

(ता. क. बहुजन समाजात जन्माला आलेले कवी गोविंद यांचे उचित  स्मारक नाशिक येथे व्हावे म्हणून माझ्या वडिलांनी प्रचंड प्रयत्न केले होते.)  

माझे वडील ऑक्टोबर २२, २०१९ रोजी नाशिकला वारले , १९७४ साली ते नाशिक ला नोकरीनिमित्त आले आणि तेथेच राहिले.

लहानपणापासून त्यांनी कायम वेगवेगळ्या प्रकारचे सतत लेखन आणि त्या निमित्ताने वाचन, दर्शन, श्रवण केले. नाशिकला आल्यावर तर त्यांची लेखणी कायम चालत राहिली. 

त्यांनी अनेक वर्षे गावकरी दैनिकात संपादकीय लिहले. त्यामुळे अनेक नाशिककरांशी त्यांचे जवळचे संबंध आले जसे कुसुमाग्रज, दादासाहेब पोतनीस, वसंत कानेटकर, ना वा टिळक आणि लक्ष्मीबाई टिळकांचे वंशज इत्यादी. 

त्याकाळात तिथे आलेलं विषय हे कित्येक बाबतीत "पुढल्या हाका" ठरले. एक दोन उदाहरणे - सुलभ शौचालय, शरद जोशींचे शेतकरी आंदोलन, करमरकर वि. करमरकर (म्हणजे Kramer Vs. Kramer), जयपूर फूट वगैरे, वगैरे. 

मी नाशिकला १-२ वर्षे राहिलो. त्याकाळात मी शेजवलकरांचा लेखसंग्रह हे ह वि मोटे प्रकाशनाचे दुर्मिळ पुस्तक मिळवले. ते तातांनी बारकाईने वाचून त्या संबंधाने एक-दोन लेख लिहले.

त्यांचे मित्र आणि सुहृद श्री भानबा (नरहरि) भागवत आणि श्री बेदरकर (दोघेही त्यांच्या सानिध्यात पहिल्यांदा 'गावकरी' समूहामुळे आली) यांना वाटले की संमेलनानिमित्त जी स्मरणिका प्रसिद्ध होणार आहे त्यात 'सरांचे' नाव आणि थोडे कर्तृत्व आले पाहिजे. 

माझ्या मदतीने एक टीपण स्मरणिकेत प्रसिद्ध झाले, ते सोबत पहा 

 (काही त्रुटी ह्यात आहेत)

मुका होडीवाला आणि जी. ए.....N C Wyeth's The Silent Fisherman

जी. ए.  कुलकर्णी जयवंत दळवींना लिहीत आहेत, एप्रिल ६ १९७४ रोजी:
"... .मी या ठिकाणी तासभर एक होडी घेतली. होडीवाले साधारणपणे फार बोलतात, पण मला मिळाला तो मुका वाटावा इतका अबोल..."
(पृष्ठ १४१, 'प्रिय जी.ए. : स. न. वि. वि.', १९९४)

* ('या ठिकाणी' = प्रयाग संगम)

जी. ए.  कुलकर्णी:
"मावळायला आलेल्या सूर्याच्या सोन्याने भरलेल्या नदीच्या संथ पाण्यातून मागे पंखाप्रमाणे रेषा उमटवत नाव किनाऱ्याला लागली व नाविकाने वल्हे वाळूत रुतवून ती थांबवली. बाणासारखा ताठ , उंच नाविक नावेचाच एक जिवंत भाग असल्याप्रमाणे नाव सहज हलवत होता, व त्याच्या हालचालीतील ताबेदार सामर्थ्याकडे पाहात असता प्रवाशाला फार कौतुक वाटत होते. ..."
(पृष्ठ २, 'प्रवासी', 'रमलखुणा', १९७५/१९८८)

'The Silent Fisherman', १९०७, आर्टिस्ट: N C Wyeth

In Fourth Dimension, Be a Monster or Solve Sudokus

John Gray, ‘The Immortalization Commission: Science and the Strange Quest to Cheat Death’, 2011:

“....Lenin's tomb was designed by AV Shchusev, an architect involved in the constructivist movement and influenced by Kazimir Malevich, the founder of suprematism. Malevich viewed abstract geometrical forms as the embodiment of a higher reality. Believing that Lenin's cube-shaped mausoleum represented a "fourth dimension" where death did not exist, he suggested that Lenin's followers keep a cube in their homes. The proposal was adopted by the party, and cubic shrines to the dead leader were set up in "Lenin corners" in offices and factories. Shchusev's design reflected Malevich's belief in the occult properties of the cube. At a meeting of the funeral commission in January 1924, Shchusev declared: "Vladimir Ilyich is eternal . . . In architecture the cube is eternal. Let the mausoleum derive from a cube." He then sketched a design made of three cubes, which the commission accepted....”

 Matt Parker, ‘Things to Make and Do in the Fourth Dimension: A Mathematician's Journey Through Narcissistic Numbers, Optimal Dating Algorithms, at Least Two Kinds of Infinity, and More’, 2014:

 “....As humans, we live in a three-dimensional world. We are 3D creatures, and as a 3D creature I find no concept as terrifying as the notion of encountering a 4D creature. Such an organism would be god-like to us and, were it the slightest bit malicious, it could torment and destroy us at will. Humans are not equipped physically or mentally to deal with a fourth dimension, so any higher-dimensional being would have the ultimate tactical advantage.

There’s a reasonably accurate description of an interdimensional fight in the comic 1963 – Tales of the Uncanny (published in 1993). The story ‘It Came from … Higher Space!’ features a 4D protagonist attacking a 3D victim. It was written by comic-book legend Alan Moore (author of Watchmen, V for Vendetta, The League of Extraordinary Gentlemen, and many others) and the monster appears as a collection of hovering, disjointed body parts which move and morph around in the air. It starts as a series of wisps in mid-air which balloon out into 3D and are described as being almost like doughnuts made of meat. Not appealing.

We can explain the disjointed nature of the 4D monster by looking at what would happen if we, as 3D creatures, attacked a 2D creature. Being 3D means that the space we operate in extends in three different directions: side to side, backwards and forwards, and up and down. A 2D creature can move only in two directions: it’s constrained to a flat surface. Let’s imagine a hypothetical creature who is completely flat – a hypoflatical, say – living in a completely thin universe, so thin that it would appear as a piece of paper does to us. We could loom as close to it in an up or down direction as we want and, because the hypoflatical has no concept of a third dimension, it would have no idea we were there. The third dimension provides perfect cover. Time to mount our own terrifying attack on a lesser-dimensional being – and all it takes is a move in the third direction into its two-dimensional world....”

"Time passes more slowly in that dimension, so take these sudokus."  

Artist: Edward Steed, The New Yorker, June 2016