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, October 17, 2020

Raja Ravi Varma and Navaratri

घटस्थापना २०२०

राजा रवी वर्मा आणि दीनानाथ दलाल हे महाराष्ट्रातील दोन सर्वात जास्त लोकप्रिय चित्रकार असावेत... त्यांच्या प्रतिमा आपल्या समोर नेहमी येत असतात...

राजा रवी वर्मा यांच्या कलेचा तर हिंदू धर्मावर मोठा प्रभाव आहे असच म्हणावे लागेल... जगात एका १९-२०व्या शतकातील चित्रकाराचा एवढा मोठा प्रभाव एका प्रमुख धर्मावर असण याच दुसर उदाहरण मला तरी माहित नाही

२०१७सालच्या "The Hindu" दैनिकात आलेली माहिती पहा:

"But it is the artist Raja Ravi Varma, who perhaps had the greatest influence on Navaratri dolls. His oleographs, found in the puja rooms of most households set off an unprecedented demand for images/sets/friezes of the same kind. A prized possession in many homes is a set of six scenes from the Ramayana, all directly copied from Ravi Varma. These comprise the breaking of the bow, the crossing of the Ganga, the killing of Jatayu, Sita in Ashoka Vana, the crossing of the ocean and the Pattabishekam. Similarly, the iconic Lakshmi and Saraswathi as depicted by the painter became the standard for all clay dolls of these two goddesses.
As for Adi Sankara, the only image we have of him is as depicted by Ravi Varma. The seer, either alone or with four disciples as seen in the painting, is a fixture in most kolus. Much rarer, but still to be found in a few homes are the porcelain dolls inspired by the postures struck by Ravi Varma’s heroines. All of these were made in Germany in the pre-Second World War years. Today’s China-made Hindu idols are therefore nothing new. The demand exists and so supply will happen, from somewhere or the other! Ravi Varma’s Sakuntala and Menaka, Ahalya, Hamsa Damayanti and Saraswathi were all made in porcelain and shipped out."


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