{"id":4694,"date":"2013-07-13T01:57:46","date_gmt":"2013-07-13T01:57:46","guid":{"rendered":"http:\/\/localhost\/?p=4694"},"modified":"2013-07-13T01:57:46","modified_gmt":"2013-07-13T01:57:46","slug":"200-catalogue-of-paintings-and-drawings-vol-04-paintings-and-drawings","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/02-works-of-the-mother\/02other-editions\/04-paintings-and-drawings\/200-catalogue-of-paintings-and-drawings-vol-04-paintings-and-drawings","title":{"rendered":"-200 Catalogue of Paintings and Drawings.htm"},"content":{"rendered":"
\n

\n\t
\n\t\tPaintings
\n & Drawings<\/font><\/b> <\/font>
\n\t\tBy The
\n Mother<\/font><\/b><\/font>\n <\/p>\n

  <\/p>\n

<\/p>\n

  <\/p>\n

\nCatalogue
\n of Paintings and Drawings<\/font> <\/font><\/span><\/p>\n

  <\/p>\n

 <\/p>\n\n\n
\n

\n <\/td>\n

\n

\n <\/td>\n<\/tr>\n<\/table>\n

\n\n\n
\n


\nThe
\ntwo lists below give briefly the details that are available about the paintings
\nand drawings reproduced in this volume. For more information about the
\nbackground of some of the works, references are made to the article, "The
\nMother as an Artist".<\/font><\/span><\/p>\n


\nThe
\nexact year is usually known with certainty only for works dated by the Mother.
\nOtherwise, an approximate date indicated by "circa" (c.) or a range of
\npossible dates is suggested. Most often we at least know whether the work was
\ndone in France, Algeria, Japan or India. The range of dates may be narrowed down
\nfurther on the basis of our knowledge of the Mother’s main<\/span><\/font> <\/span>periods of artistic activity, combined sometimes
\nwith considerations of stylistic development or clues provided by the subject
\nmatter.<\/span><\/font><\/font><\/p>\n


\nIn
\nsome cases, the original is not available to us and the reproduction has had to
\nbe made from an earlier print or negative or from a print or transparency
\nsupplied by the owner. The size of the original may then be unknown to us.<\/font><\/span><\/p>\n


\nSubject
\nto these qualifications, the information supplied below is as complete and
\naccurate as our knowledge allows.<\/font><\/span><\/p>\n

\nThe
\nMother did not sign all her works. In France, when she signed her paintings, she
\nused to sign her name in full: "Mirra Alfassa". Works from her
\nJapanese period and some early drawings in Pondicherry are signed with
\n"M" and "A" in the form of a monogram. (This can be seen
\nclearly in the portrait of Barindra Kumar Ghose on p. <\/span><\/font>76.) <\/font> The
\nlater drawings carry the signature we are today familiar with. An enlargement of
\nthis signature may be seen on the title page of this book.<\/p>\n

<\/font>
\n<\/span><\/span><\/font><\/p>\n

\n
\n  
\n<\/span><\/font><\/p>\n

\n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
\n <\/p>\n

<\/span><\/font><\/p>\n

\n <\/a><\/font>
\n
\n <\/span><\/font><\/p>\n

\nThe
\nPaintings<\/font><\/a><\/font><\/span><\/b><\/p>\n

<\/span><\/font><\/p>\n

\n
\n 
\n<\/span><\/font><\/p>\n

1. Divine Consciousness Emerging from the
\nInconscient<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThe title was given by the Mother. For the story
\nbehind the painting, Oil on board. 13.5 x 8.5 cm, 1920-25.
\nPondicherry.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n 2.
\nLady on the Staircase (p. 13)
\n <\/font><\/b><\/span><\/p>\n

\n The
\ninterior of "Manoir de Cantepie", a manor house in Cambremer, Normandy. Oil on canvas. Signed and dated:MirraAlfassaIO3.SOx44.5cm.I903.
\n<\/i>France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n3.
\n<\/i>Interior with Bright Vases<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThe
\npainting has darkened so much that no proper reproduction is possible. Nothing
\nof the original colours and detailed work can _ seen. Oil on canvas. Signed and
\ndated: Mirra Alfassa\/O3. <\/i>45.5x62cm.1903. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n4.
\nA Musician’s Room<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nInterior
\nof the house of the composer Camille Erlanger. The colours have
\nlost their original charm. Oil on canvas. Signed and dated: Mirra Alfassa\/O4.
\n<\/i>58.5 x 71 cm. 1904. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

\n5. A Landscape with Church Tower<\/font><\/b>
\n 
\n<\/span><\/font><\/p>\n

\nThis
\npainting was executed at Tavers near the country home of the Morissets in
\nBeaugency on the Loire. It has deteriorated and the freshness of
\nthe colours is lost. Oil on board. 15×20.5cm. CI897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

6. A Chair<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nA painting done in the studio of Abel Faivre, a
\nfamous caricaturist. Oil on board. Signed: Mirra Alfassa. <\/i>21
\nx 13 cm. C. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

7. Two White Vases<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nOil on board. 13.5 x 21 cm. C. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

8. An Interior with a Vase<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on board. 14.5 x 20.5 cm. C 1897-1908, France,<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

9. An Interior<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on board. 21.5 x 14 cm. C 1897-1908, France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

10. An Interior<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on board. Signed: M. 21.5 x 13 cm. CI897-1908.
\nFrance.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n 11.
\nGrapes<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\npainting won a first prize in Paris, probably at one of the monthly competitions
\nat the Academie Julian. It had the charm and clarity of brush
\nstrokes now noticed with difficulty. Oil on canvas. 26 x 39 cm. 1893-97. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n12. A Friend’s Garden<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThe
\nMother is reported to have said that while meditating in this garden, she had
\nthe experience of identity with the earth. The garden may be that of Themanlys
\nin Courseulles, Normandy. The colours of the painting have
\ndeteriorated. Oil on board. 13.5 x 18 cm. e. 1905. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n 13. The Studio of an Artist<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\npainting was done in the studio of Charles Duvent, a painter. It has darkened so
\nmuch that the colour reproduction is only as good as a black and white
\nreproduction. It is being reproduced for its documentary value. Oil on canvas.
\n44.5 x 45 cm. e. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

14. A Room in a Castle<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nProbably a room in the Chateau de Beaugency. The
\ncolours have deteriorated. Oil on board. 18 x 26 cm. e. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

15. The Hearth<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThe colours have cracked and have made furrows. Oil
\non board. 17 x 13 cm. e. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n16. Interior of a Library<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nIt
\nseems this was done in the Musee de CIuny, Paris. The painting has darkened so
\nmuch that the reproduc\u00adtion is not clear. The colours are also peeling off.
\nThere is some doubt about its authorship. The reproduction in this was
\ndone after restoration, but is not true to the colours of the original. The
\ndamaged painting, before restoration, is shown in black and white at the end (p.
\n151). Oil on canvas. 50 x 40 cm. e. 1897-1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

17. Early Study<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on canvas. Signed and dated: Mirra Alfassa <\/i>\/1895.
\n59 x 44.5 cm. 1895. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

18. Early Study<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on canvas. 54 x 48 cm. e. 1895. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

19. Early Study<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on canvas. Signed: Mirra Alfassa. <\/i>54 x 44
\ncm. e. 1895. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n20. Theon’s House, "Zarif"<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nTheon
\nis seen with his dog. This painting and the one printed as 22 are in the
\ncollection of Pascal Themanlys, whose father first introduced the Mother to
\nTheon. They are reproduced here from photographic prints supplied
\nby him. Oil on board. Dated: ZarifO6. <\/i>Size not known. 1906. Algeria.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

21. Theon’s House<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nOil on board. 15.5 x 23.5 cm. 1906-7. Algeria.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

22. Theon’s Garden<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nSee the remarks on 20. Oil on board. Size not
\nknown. 1906-7. Algeria.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

23. A Vision<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThe Mother said she did this painting in France and
\ndid not have time to finish it. A pencil sketch for it is<\/p>\n

<\/span><\/font><\/p>\n

\nreproduced
\non p. 135 (No. 112). Oil on board. 13 x 21 cm. e. 1903-8. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n24. An Apparition<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\npainting, done in Pondicherry, is not traceable at present. The colour
\nreproduction is made from an earlier print, which had the title "The Moon
\nGoddess (‘Apparition’)". There was a first sketch for it which is
\nreproduced on p. 121. Oil on board. 11.5 x 9 cm. 1920-30. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n25. Shoulders<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis is a fine example of the Mother’s paintings done
\nin France. Oil on board. 14.5x 11 cm. e. 1903-8. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n26. Sleeping Woman<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\npainting is badly peeling off as is evident from the lower end of the
\nreproduction. A fine work in the impressionist style. Oil on canvas. 65 x 65 cm.
\nSigned: Mirra Alfassa. <\/i>e. 1903-8. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

27. Andre as a Postman<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThe Mother’s son in a postman’s dress. He was about
\nten years old when this painting was done. Oil on board. 23.5 x 13.5 cm. e.
\n1908. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

28. Andre<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nPortrait of the Mother’s son, Andre Morisset, when he
\nwas four or five years old. Oil on board. 11.5 x 10.5 cm. e. 1903. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n29. Portrait of a Loving Friend<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\nportrait of Mme Valentine is done on a small piece of ivory. The Mother
\npresented it to Ms. Maggi Lidchi, one of her disciples, in whom she recognised a
\nreincarnation of her friend. Mme Valentine, a close friend of the Mother’s
\nduring her days in the art studio, died in childbirth just before the Mother’s
\nson, Andre, was born. Oil on ivory. 9.5 x 6.5 cm. e. 1897. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n30. Japanese Poet Hirasawa Tetsuo<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis
\nexcellent portrait of poet and artist Hirasawa Tetsuo is still in fairly good
\ncondition. It was done in one sitting. Hirasawa later visited the Mother in
\nPondicherry (October 1924). Oil on board. 19.5 x 14 cm. 1916-20. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

31 & 32. Kobayashi in her Room<\/p>\n

<\/font><\/b>
\n<\/span><\/p>\n

\nThis portrait of the Mother’s friend Nobuko Kobayashi
\nwas done in Kyoto. She is here preparing some medicine. Oil on canvas. 32.5 x 44
\ncm. e. 1917-18. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n33 & 34. Mrs. Okhawa in her Balcony<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThis
\nportrait of Mrs. Okhawa in a balcony overlooking Noshiri Lake was probably done
\nwhen the Mother stayed with her in Kyoto one summer. Oil on canvas. Signed and
\ndated: MA <\/i>(monogram) \/18. 32.5 x 44 cm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n35. Trees of Daiunji Temple<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThe
\nMother and Paul Richard visited the Daiunji temple in Sarashina, about 200 km
\nnorthwest of Tokyo, between 12 and 15 September 1918. Plates 36 and 41 and
\ndrawings Nos. 131 and 132 (p. 144) were also done here. Oil on board. Signed: MA
\n<\/i>(mono\u00adgram). 15 x 22.5 cm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

36. Roof of Daiunji Temple<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nOil on board. Signed: MA <\/i>(monogram). 15 x 22.5
\ncm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

37. Snow on a Tree<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nSnow on a tree in a Kyoto garden. Signed: MA <\/i>(mono\u00adgram).
\nOil on board. 15 x 22.5 cm. 1917-18. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n38. A Japanese Lady with a Lantern<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThis
\nis evidently a copy of a Japanese wood-block print. It was done when the Mother
\nwas in France, most probably near the end of the nineteenth century. The
\npainting is in a bad state and the colours are <\/i>peel\u00ading off. The
\nreproduction is electronically repaired. The actual condition of the painting is
\nshown in black and white at the end (p. 152). Oil on board: 64 x 46.5 cm. C.
\n1893-1900. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

39. Image of Buddha<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThis small painting was probably started by a student
\nand finished by the Mother. Oil on board. 14 x 8.5 cm. 1920-30. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

40. Mural in the Church at Pau<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThis mural in the church at Pau, a town in the south
\nof France, is signed OH Morisset <\/i>1898". The lower part of the
\npainting was done by the Mother (see pp. 160-61). <\/i>The painting depicts a
\nbattle between Christians and Moors. Saint James of Compostela, patron saint of
\nthe church, appears on a white horse. 1898. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n41. Scroll of Daiunji Temple<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nThis
\nscroll was done on Japanese paper and mounted as a kakemono. For the
\ncalligraphic writing in Japanese, 171. Ink on paper. Signed in Japanese.
\n136 x 67 cm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n42. An Early Portrait (p. 149)<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nRecently found in the private collection of Dr. Lapey\u00adsonnie
\nin France. Oil on canvas. Signed and dated: <\/span><\/font>
\nMirra
\nAlfassa<\/span><\/font>
\n<\/span>197. <\/span>
\n<\/font><\/i>Size
\nnot known. 1897. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n43. La Console<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nReproduced
\nfrom the catalogue of the 1905 exhibition of the Salon de la Societe Nationale
\ndes Beaux-Arts. The original painting has not been traced. C. 1905. France.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

44. Portrait of Mrs. Kobayashi<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nA miniature on ivory done in Japan and presented to
\nMadame Kobayashi. Oil on ivory. Size not known. C. 1917-18. Japan.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n


\n
\n45. Goddess Kwannon<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nA
\npainting of the Japanese goddess Kwannon, Goddess of Mercy. It was done for the
\ncover of a book in Bengali by Nolini Kanta Gupta, NarirKatha. <\/i>c.1930. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

 <\/p>\n

46. Flower Study<\/p>\n

<\/b><\/font>
\n<\/span><\/p>\n

\nStudy of a rose in oils to demonstrate the technique
\nof oil-painting to a student. Oil on board. 17.5 x 14.5 cm. 1950-60.
\nPondicherry.
\n 
\n<\/span><\/font><\/p>\n

\n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
\n 
\n<\/span><\/font><\/p>\n

\n <\/a><\/font><\/p>\n

 <\/p>\n

\n The Drawings
\n <\/a><\/b><\/font><\/p>\n

 <\/p>\n

\n1.
\nSri Aurobindo. <\/b><\/font> Pencil. 15 x 10 cm. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n2.
\nSelf-portrait.<\/b><\/font> Pencil. 29.5 x 21 cm. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n3.
\nSelf-portrait <\/b><\/font> (Detail). Pencil. 29.5 x 21 cm. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n4. Self-portrait. <\/b><\/font> Pencil. 1934. Pondicherry. 5. Self-portrait. Pencil.
\n1948. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n6.
\nSelf-portrait. <\/b><\/font> Pencil. 29.5 x 21 cm. 1948. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n7.
\nSelf-portrait <\/b><\/font> (Detail). Pencil. 29.5 x 21 cm. 1948. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n8. Self-portrait. <\/b><\/font> Pen & Ink. 1947. Pondicherry. 9. Self-portrait.
\nPen & Ink. 1948. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n10.
\nSelf-portrait. <\/b><\/font> Ink & Wash. 21 x 16.6 cm. 1916-20. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n11. Mother’s Eyes.
\n<\/b><\/font>
\nPencil. C. 1935-40. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n12. Mother’s Hand. <\/b><\/font> Pencil. 1933. Pondicherry. 13. Mother’s Foot. Pencil.
\n1934. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n14.
\nMira Ismalun <\/b><\/font> (The Mother’s maternal grand\u00ad mother). Pencil. <\/span>15
\nx 10 cm. 1905. France.<\/p>\n

<\/span><\/font><\/p>\n

\n15.
\nMaxTheon. <\/b><\/font> Pencil. 29 x 19.5 cm. C. 1906. Algeria.<\/p>\n

<\/span><\/font><\/p>\n

\n16.
\nRabindranath Tagore. <\/b><\/font> Pencil. 11.3 x 10 cm. 1916.
\n<\/span>Japan.
\nThe Mother met Tagore in Japan in 1916 and 1919 (170).<\/p>\n

<\/span><\/font><\/p>\n

\n17.
\nRabindranath Tagore. <\/b><\/font> Brush & Ink. 18 x 10 cm. 1916. Japan. This drawing,
\nalong with No. 18, seems to have been rendered in brush and ink from the first
\npencil sketch done on 11 June, 1916.<\/p>\n

<\/span><\/font><\/p>\n

\n18.
\nRabindranath Tagore. <\/b><\/font> Brush & Ink. 18 x 10 cm. 1916. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n19.
\nPoet Hayashi.<\/b><\/font> Japanese poet and artist. Brush & Ink. 25 x 17 cm. 1916-20.
\nJapan.<\/p>\n

<\/span><\/font><\/p>\n

\n20.
\nPoet Hayashi. <\/b><\/font> Brush & Ink. 25 x 17 cm. 1916-20. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n21.
\nDaughter of the Prime Minister of China. <\/b><\/font> Brush & Ink. 25 x 18 cm. 1916-20.
\nJapan.<\/p>\n

<\/span><\/font><\/p>\n

\n22.
\nDaughter of the Prime Minister of China. <\/b><\/font> Brush & Ink. 25 x 18 cm. 1916-20.
\nJapan.<\/p>\n

<\/span><\/font><\/p>\n

\n23.
\nNobuko Kobayashi <\/b><\/font> (Mother’s friend in Kyoto, whose husband was a leader of the
\n"still-sitting" movement). Brush & Ink. 25 x 17 cm. C. 1917-18.
\nJapan.<\/p>\n

<\/span><\/font><\/p>\n

\n24.
\nJapanese woman. <\/b><\/font> Pencil. 21.5 x 19 cm. 1916-20. Japan.<\/p>\n

 
\n<\/span><\/font><\/p>\n

\n25.
\nPaul Richard. <\/b><\/font> Brush & Ink. 1918. Japan. This portrait was drawn by the
\nMother in the Visitors’ Book at Daiunji Temple.<\/p>\n

<\/span><\/font><\/p>\n

\n26.
\nThe Captain of a Japanese Ship. <\/b><\/font> Brush & Ink. 19 x 25.5 cm. 1919. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n27.
\nThe Captain of a Japanese Ship. <\/b><\/font> Brush & Ink. 19 x 25.5 cm. 1919. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n28.
\nJames H. Cousins <\/b><\/font> (Irish poet). Brush & Ink. 24.5 x 15.5 cm. 1920.
\nPondicherry. The Mother first met James Cousins in Japan and later in
\nPondicherry in 1920.<\/p>\n

<\/span><\/font><\/p>\n

\n29.
\nJames H. Cousins. <\/b><\/font> Brush & Ink. 24.5 x 15.5 cm. 1920. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n30.
\nAmrita <\/font><\/b> (Aravamudachari). Brush & Ink. 1920. Pon\u00addicherry .<\/p>\n

<\/span><\/font><\/p>\n

\n31.
\nMoni <\/b><\/font> (Suresh Chakravarti). Brush & Ink. 24.5 x 14.5 cm. 1920. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n32.
\nPurushottam <\/b><\/font>Patel. Brush & Ink. 24x 17.5cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n33.
\nPurushottam <\/b><\/font> Patel. Brush & Ink. 26 x 21 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n34. Chandulal <\/b><\/font> Shah. Brush & Ink. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n35.
\nVasudha <\/b><\/font> Shah. Brush & Ink. 28.5 x 21 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n36. Diana <\/b><\/font> Mathot. Brush & Ink. 1956. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n37.
\nEric Bass <\/b><\/font> (American artist). Brush & Ink. 39 x 27 cm. 1956. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n38.
\nPavitra <\/b><\/font> (Philip Barbier de St. Hilaire). <\/span>Pen
\n& Ink. 1947. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n39.
\nPavitra. <\/b><\/font> Pencil. 1930. Pondicherry. This portrait, along with No. 40, was done
\non graph paper, the lines of which have been electronically removed (see p.152).<\/p>\n

<\/span><\/font><\/p>\n

\n40.
\nPavitra. <\/b><\/font> Charcoal. 22.5 x 12.5 cm. 1932. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n41.
\nPavitra. <\/b><\/font> Charcoal. 16.5 x 15 cm. <\/span>C. 1930. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n42.
\nBarindra Kumar Ghose <\/b><\/font> (Younger brother of Sri Aurobindo). Pencil. 21.5 x 14 cm.
\n1920. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n43.
\nNolini <\/b><\/font> Kanta Gupta. Charcoal. 48 x 31 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n44.
\nDoraiswami <\/b><\/font> Aiyar. Charcoal. 48 x 39 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n45.
\nAnilbaran <\/b><\/font> Roy. Charcoal. 31 x 24 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n46.
\nChandulal <\/b><\/font> Shah. Charcoal. 48 x 31 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n47.
\nVasudha <\/b><\/font> Shah. Charcoal. 31 x 23.5 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n48.
\nChampaklal <\/b><\/font> Purani. Pencil. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n


\n49.
\nChampaklal <\/b><\/font> Purani. Pencil. 22.5 x 16.5 cm. 1959. Pondicherry. <\/font> <\/p>\n

<\/span><\/p>\n

\n50.
\nUnidentified. <\/b><\/font> Charcoal. 16xI2.5cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n51.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n52.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. 1951. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n53.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n54.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. C. 1950. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n55.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. 1951. Pondicherry..<\/p>\n

<\/span><\/font><\/p>\n

\n56.
\nPranab <\/b><\/font> Kumar Bhattacharya. Pencil. 1951. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n57.
\nDyuman <\/b><\/font> (Chunilal Patel). Pen & Ink. 13 x 9 cm. 1947.Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n58.
\nShanti <\/b><\/font> Doshi. Pen & Ink. 13 x 9 cm. 1947. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n59.
\nAmbu <\/b><\/font> (Ambalal Desai). Pencil. 18 x 14 cm. 1947. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n60. Romen
\n<\/b><\/font> Palit.
\nPencil. C. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n61.
\nAli Hyderi <\/b><\/font> (Son of Sir Akbar Hyderi, Hyderabad). Pen & Ink. 25.5 x 19.5 cm.
\n1947. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n62.
\nAlice <\/b><\/font> Hyderi (French wife of Ali Hyderi). Pen & Ink. 22.5 x 18.5 cm. 1947.
\nPondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n63. Tara Jauhar.
\n<\/b><\/font> Pen
\n& Ink. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n64.
\nDatta <\/b><\/font> (Miss Dorothy Hodgson, who was with the Mother in Japan and accompanied
\nher to Pondicherry in 1920). Pencil. 25.5 x 20.5 cm. 1919. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n65.
\nA Lady with a Hat <\/b><\/font> (Miss Dorothy Hodgson). Pencil. 20.5 x 17 cm. 1919. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n66.
\nVasudha <\/b><\/font> Shah. Pencil. Pondicherry. Inscribed by the Mother in French (trans.:
\n"It is your portrait when you laugh, your head on my knees").<\/p>\n

<\/span><\/font><\/p>\n

\n67.
\nVasudha <\/b><\/font> Shah. Pencil. 22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n68. Kamala
\n<\/b><\/font> Amin.
\nPencil. C. 1935. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n69.
\nChinmayi <\/b><\/font> (Mehdi Begum of Hyderabad). <\/span>Pencil.
\n15 x 11 cm. 1931. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n70.
\nPriti <\/b><\/font> Das Gupta. Pencil. <\/span>22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n71.
\nViolette <\/b><\/font>Indra Sen. Pencil. 22x 14cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n72. Bratati <\/b><\/font> Bhattacharya (Millie). Pencil. 22 x 14
\ncm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n73.
\nAnima <\/b><\/font> Ganguli (Minnie). Pencil. 22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n74.
\nGauri <\/b><\/font> Bhattacharya. Pencil. 22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n75. Gauri <\/b><\/font> Bhattacharya. Pencil. 1957. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n76.
\nBina <\/b><\/font> Bhattacharya. Pencil. 20 x 14 cm. 1949. Pon\u00addicherry .<\/p>\n

<\/span><\/font><\/p>\n

\n77.
\nDebou <\/b><\/font> Bhattacharya. Pencil. 22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n78.
\nAmiyo <\/b><\/font> Ganguli. Pencil. 22 x 14 cm. 1949. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n79.
\nChitra Jauhar. <\/b><\/font> Pen & Ink. 1953. <\/span>(Done
\nin a class notebook.) Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n80.
\nWilfy <\/b><\/font> (Wilfred Pinto). Pencil. 9 x 20 cm. 1951. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n81.
\nRene <\/b><\/font> (Aga Syed Yakub of Hyderabad). 1930. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n82. A Boy’s Face.
\n<\/b><\/font>
\nPencil. 15.x 10 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n83. A Boy’s Face. <\/b><\/font> Pencil. 15 x 10.5 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n84.
\nMy Three Young Friends <\/b><\/font> (Chum, Bubu, Jhumur). Pencil. 9 x 21 cm. C. 1946.
\nPondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n85.
\nA Girl with a Bow. <\/b><\/font> Pencil. 25 x 17 cm. 1916-20. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n86. Two figures.
\n<\/b><\/font>
\nPencil. 12 x 6.4 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n87. Tarini
\n<\/b><\/font> Patil. Pen
\n& Ink. C. 1956. Pondicherry. 
\n<\/span><\/font><\/p>\n

\n 88. Agami
\n<\/b><\/font> Reddy. Pen & Ink. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n89. Urmila
\n<\/b><\/font> Pandya. Pen
\n& Ink. 1959. Pondicherry. 
\n<\/span><\/font><\/p>\n

\n 90. Urmila
\n<\/b><\/font> Ravjibhai. Pen & Ink. 1946.
\nPondicherry. 
\n<\/span><\/font><\/p>\n

\n 91. Study of a cat.
\n<\/b><\/font> Pen & Ink. 13 x 11 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n92a-c.
\nStudy of three cats. <\/b><\/font> Pen & Ink. 12.7 x 11 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n92d. Study of a cat. <\/b><\/font> Pen & Ink. 13 x 11 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n92e.
\nStudy of a cat. <\/b><\/font> Pen & Ink. 5.5 x 5.5 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n93.
\nStudy of a cat. <\/b><\/font> Brush & Ink. 10.3 x 15 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n94. Study of a dog.
\n<\/b><\/font>
\nPencil. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n95. Lion. <\/font><\/b> Brush & Ink. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n96.
\nSketch for "An Apparition" <\/b><\/font> (see 24). Pen & Ink. 19.5 x 12.5
\ncm. 1920-30. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n97.
\nA Figure on the Crest of a Wave. <\/b><\/font> Pencil. 14 x 22.5 cm. This drawing, along with
\nNos. 98 & 99, has an occult origin.<\/p>\n

<\/span><\/font><\/p>\n

\n98. A Fort on the Sea. <\/b><\/font> Pencil. 16 x 25 cm.<\/p>\n

<\/span><\/font><\/p>\n

\n99.
\nA Figure on a Mushroomlike Formation<\/b><\/font>. Pencil. 18 x 21 cm.<\/p>\n

<\/span><\/font><\/p>\n


\n100. Two figures and a
\nlion. <\/b><\/font> Pencil. 12 x 6.5 cm. <\/font> <\/p>\n

<\/span><\/p>\n


\n101. Two Faces in a
\nPattern. <\/b><\/font> Pencil. France. <\/font> <\/p>\n

<\/span><\/p>\n

\n102. Details
\n<\/b><\/font> of No.
\n101.<\/p>\n

<\/span><\/font><\/p>\n

\n103. Details <\/b><\/font> of No. 101.<\/p>\n

<\/span><\/font><\/p>\n

\n104.
\nA Figure with Two Symbols. <\/font><\/b> Pencil. 22.5 x 14 cm.
\n France.<\/p>\n

 
\n<\/span><\/font><\/p>\n

\n105.
\nTwo Symbols. <\/b><\/font> Pencil. The Mother has given explanations of these sketches in
\nFrench (trans: "A crown with wings on a square of light. The wings, the
\ncrown and the arrow in white light above the square of white light surrounded by
\nprismatic colours" and "The star of white light radiating very
\nluminous rays of all colours, the oval less brilliant, also radiating rays and
\nchanging colours so as to have them all alternately").<\/p>\n

<\/span><\/font><\/p>\n

\n106.
\nAscent to the Truth. <\/b><\/font> Brush & Ink. 24 x 15 cm. 1956. Pondicherry. Drawn to
\nillustrate the play of the same name.<\/p>\n

<\/span><\/font><\/p>\n

\n107.
\nAscent to the Truth. <\/b><\/font> Brush & Ink. Original version.<\/p>\n

<\/span><\/font><\/p>\n

\n108. Image of Buddha. <\/b><\/font> 1957. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n109.
\nA Village Woman. <\/b><\/font> Pen & Ink. 18 x 14 cm. 1947.
\nPondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n110.
\nSketch for a Character in the Play  <\/b><\/font>"Ascent to the Truth". Pencil. 29 x
\n21 cm. 1956. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n111. Sketch of a Group.
\n<\/b><\/font>
\nPencil. 7.5 x 11 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n112.
\nSketch for the Painting<\/b><\/font>  "A Vision" (see 23). Pencil. 6.5 x 8 cm.
\nC. 1903-8. France.<\/p>\n

<\/span><\/font><\/p>\n

\n113.
\nStudy of a Woman’s Figure. <\/b><\/font> Pencil. 22 x 14 cm. France.<\/p>\n

 
\n<\/span><\/font><\/p>\n

\n114.
\nHuman Proportions.<\/b><\/font> Pencil. 1933. Pondicherry. Marked to show a student the seven
\n"head" measures comprising the human body.<\/p>\n

<\/span><\/font><\/p>\n

\n115.
\nStudy of a Human Face <\/b><\/font> (mouth and chin). Pencil. 18 x 11 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n116.
\nStudy of a Tree. <\/b><\/font> Brush & Ink on Japanese paper. 25 x 17.5 cm. Japan.<\/p>\n

 <\/p>\n

<\/span><\/font><\/p>\n

\n117. Study of a Flower. <\/b><\/font> Brush & Ink. 18 x 12 cm.<\/p>\n

<\/span><\/font><\/p>\n

\n118.
\nTemple of Shiva. <\/b><\/font> Brush & Ink. 22 x 9 cm. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n119.
\nMountain and Clouds.<\/b><\/font> Brush & Ink. 12 x 14 cm. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n120.
\nMan with a Newspaper. <\/b><\/font> Pencil. 17.7 x 11 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n121. An Officer.
\n<\/b><\/font>
\nPencil. 17.5 x 11 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n122. A Woman in a
\nChair. <\/b><\/font> Pencil. 16 x 11 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n123. A Man in a Chair. <\/b><\/font> Pencil. 15 x 11 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n124.
\nSketch of a Woman. <\/b><\/font> Pencil. 17.5 x 11 cm. France (?). (Perhaps, along with No.
\n125, to show the design of the dress.)<\/p>\n

<\/span><\/font><\/p>\n

\n125. A Woman’s Torso. <\/b><\/font> Pencil. 16 x 10 cm. France.<\/p>\n

<\/span><\/font><\/p>\n

\n126. Horse and its Trainer. <\/b><\/font> Pencil. 5.2 x 14 cm. France. 127. Landscape
\nwith Two Figures. Pencil. 14×22.5cm. 128. Landscape. Pencil. 17.3 x 22 cm.<\/p>\n

<\/span><\/font><\/p>\n

\n129. Bridge. <\/b><\/font> Pencil. 14 x 22.5 cm. 1907. France.<\/p>\n

<\/span><\/font><\/p>\n

\n130.
\nPine Trees with Snow. <\/b><\/font> Pencil. 14×22.5cm. 1907. France.<\/p>\n

 <\/p>\n

<\/span><\/font><\/p>\n

\n131.
\nSketch of Daiunji Temple. <\/b><\/font> Pencil. 34 x 25 cm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n132.
\nSketch of Daiunji Temple. <\/b><\/font> Pencil. 34 x 25 cm. 1918. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n133.
\nTwo Japanese Figures.<\/b> <\/font> Pencil. 11 x 6.6 cm. 1916\u00ad20. Japan.<\/p>\n

<\/span><\/font><\/p>\n

\n134.
\n<\/font><\/b>
\n
\nCover Design for a Children’s Magazine. <\/b><\/font> Red Ink. C. 1946. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n135.
\nDesign for a Book-cover. <\/b><\/font> Pencil. 22.5 x 14.5 cm. 1966. Pondicherry. This was
\nused for the cover of a compilation of the writings of Sri Aurobindo and the
\nMother, "On Love", prepared by Pavitra.<\/p>\n

<\/span><\/font><\/p>\n

\n136.
\nStage Setting for a Play. <\/b><\/font> Pencil. 14 x 22 cm. C. 1945. Pondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n137-42. Free Designs.
\n<\/b><\/font>
\nPondicherry.<\/p>\n

<\/span><\/font><\/p>\n

\n143.
\nA diagram <\/b><\/font> to explain to a child the meaning of Yoga. Pondicherry. Man is at the
\nbottom, the Divine at the top. The wavy line is the path of the ordinary life,
\nthe straight line of Yoga.<\/p>\n

 
\n<\/span><\/font><\/p>\n

\n
\n HOME<\/span><\/a><\/font><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n<\/div>\n

 <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Paintings & Drawings By The Mother     Catalogue of Paintings and Drawings      The two lists below give briefly the details that are…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[130],"tags":[],"class_list":["post-4694","post","type-post","status-publish","format-standard","hentry","category-04-paintings-and-drawings","wpcat-130-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/4694","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=4694"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/4694\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=4694"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=4694"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=4694"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}