Painting: Difference between revisions
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(Champaklal:) “After Mother left Library House and I moved into her room, I found three of her old study-portraits done in oil when she was in France, lying in a corner unattended. | ([[Champaklal]]:) “After Mother left Library House and I moved into her room, I found three of her old study-portraits done in oil when she was in France, lying in a corner unattended. | ||
After some time, I asked Mother: | After some time, I asked Mother: | ||
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But when I persisted she reluctantly permitted me to hang them on the wall of my room. One of them [the first] has been reproduced here [in the book]. They are still in my room which is now occupied by Motiben.”<ref>''[[Champaklal Speaks]]'', p.80</ref> | But when I persisted she reluctantly permitted me to hang them on the wall of my room. One of them [the first] has been reproduced here [in the book]. They are still in my room which is now occupied by Motiben.”<ref>''[[Champaklal Speaks]]'', p.80</ref> | ||
(Sri Aurobindo, [[1920]]:) “The painter lavishes his soul in colour and there is a liquidity in the form, a fluent grace of subtlety in the line he uses which imposes on him a more mobile and emotional way of self-expression. The more he gives us of the colour and changing form and emotion of the life of the soul, the more his work glows with beauty, masters the inner aesthetic sense and opens it to the thing his art better gives us than any other, the delight of the motion of the self out into a spiritually sensuous joy of beautiful shapes and the coloured radiances of existence. Painting is naturally the most sensuous of the arts, and the highest greatness open to the painter is to spiritualise this sensuous appeal by making the most vivid outward beauty a revelation of subtle spiritual emotion so that the soul and the sense are at harmony in the deepest and finest richness of both and united in their satisfied consonant expression of the inner significances of things and life.”<ref>''[[The Renaissance in India]]'', “Indian Art – IV”</ref> | |||
Latest revision as of 07:41, 8 November 2026
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(Champaklal:) “After Mother left Library House and I moved into her room, I found three of her old study-portraits done in oil when she was in France, lying in a corner unattended.
After some time, I asked Mother:
- “Can I hang the study-portraits which you left behind on the wall of my room?”
Normally I never interfered in the arrangements made by the Mother but in this case I felt that they should be cared for.
Mother: “No, they are not good enough for that.”
But when I persisted she reluctantly permitted me to hang them on the wall of my room. One of them [the first] has been reproduced here [in the book]. They are still in my room which is now occupied by Motiben.”[1]
(Sri Aurobindo, 1920:) “The painter lavishes his soul in colour and there is a liquidity in the form, a fluent grace of subtlety in the line he uses which imposes on him a more mobile and emotional way of self-expression. The more he gives us of the colour and changing form and emotion of the life of the soul, the more his work glows with beauty, masters the inner aesthetic sense and opens it to the thing his art better gives us than any other, the delight of the motion of the self out into a spiritually sensuous joy of beautiful shapes and the coloured radiances of existence. Painting is naturally the most sensuous of the arts, and the highest greatness open to the painter is to spiritualise this sensuous appeal by making the most vivid outward beauty a revelation of subtle spiritual emotion so that the soul and the sense are at harmony in the deepest and finest richness of both and united in their satisfied consonant expression of the inner significances of things and life.”[2]
- ↑ Champaklal Speaks, p.80
- ↑ The Renaissance in India, “Indian Art – IV”
See also