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."

Wednesday, November 02, 2011

Diamond Jubilee of S D Phadnis's Spell- Mohini

George Orwell:

"In reality there is no kind of evidence or argument by which one can show that Shakespeare, or any other writer, is 'good' ... Ultimately there is no test of literary merit except survival, which is itself an index to majority opinion."

It is hard to believe that we are celebrating diamond jubilee of 86-year old S D Phadnis (शि. द. फडणीस) designed covers of Diwali number of visionary Anant Antarkar (अनंत अंतरकर) founded Marathi magazine Mohini (मोहिनी).

cover of Mohini Diwali 2011 (The posting of this art is for scholarly and educational purposes. Please visit http://www.sdphadnis.com/)

He first did it in year 1952 and he has done it every year since!

Norman Rockwell, whose influence I clearly see on Phadnis's art, during his 50-year career with The Saturday Evening Post, painted more than 300 covers.

Vasant Sarwate (वसंत सरवटे), SDP's close friend, has done every cover of Marathi magazine Lalit's (ललित) Diwali number since 1964.

Sarwate writes on characteristics of SDP's art in 1990:

"जरुर तेवढाच तपशील, चित्रातून म्हणायच आहे ते पाहिल्या बरोबर, बिनचूकपणे पाहणार्याच्या ध्यानात येईल अशी चित्रातील मांडणी आणि डोळ्यास आल्हाद देईल अशी रंगरचना"

(Only necessary details, composition of the drawing done in a manner one grasps accurately what is indended to be convyed as soon as one sees it and colour composition that pleases the eye")

Specifically on Mohini covers by SDP, Sarwate wrote in 1970:

"रंग हे फङणीसांच्या चित्रांच एक महत्वाचं अंग आहे हे त्यांची 'मोहिनी'वरील चित्रं पाहणार्याच्या सहज लक्षात येईल. आल्हाददायक रंगसंगती त्यांच्या चित्रांना स्वप्नमय, तरल स्वरुप देण्यास फार मोठी मदत करतात."

(Colour is an important component of his pictures is pretty obvious to those who look at his pictures on the covers of 'Mohini'. Pleasing colour compositions help big give his pictures dreamlike, subtle quality.)

This is how Sarwate draws his friend at work:

['Sahapravasee' (सहप्रवासी), 2005]

Notice how well Sarwate has captured the above qualities of Shi Da's drawings in picture-in-picture.

See my previous post on Shi Da here.

George Orwell has also said: "If a man cannot enjoy the return of spring, why should he be happy in a labour-saving Utopia?… I think that by retaining one’s childhood love of such things as trees, fishes, butterflies and…toads, one makes a peaceful and decent future a little more probable."

To Orwell's list of 'trees, fishes, butterflies and…toads', I would add Shi Da Phadnis's pictures.

I still love them as much as I first saw them as a kid. If 'a peaceful and decent future' materialises, it will be a bonus!

And I hope I will continue to enjoy the sight of anyone combing his/her hair looking into a scooter's mirror and not just of that couple with sunny smiles from Mohini Diwali 2011's cover.
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