The Mother's brief statements on various aspects of spiritual life including some conversations.
Part One consists primarily of brief written statements by the Mother on various aspects of spiritual life. Written between the early 1930s and the early 1970s, the statements have been compiled from her public messages, private notes, and correspondence with disciples. About two-thirds of them were written in English; the rest were written in French and appear here in English translation. There are also a small number of spoken comments, most of them in English. Some are tape-recorded messages; others are reports by disciples that were later approved by the Mother for publication. These reports are identified by the symbol § placed at the end. Part Two consists of thirty-two conversations not included elsewhere in the Collected Works. The first six conversations are the earliest recorded conversations of the 1950s' period. About three-fourths of these conversations were spoken in French and appear here in English translation.
It seems to me that a few sketches from nature would be useful, especially from the point of view of the proportion of legs and arms and the harmony of form.
25 January 1934
(About a design for a crown for the Mother)
The design is very pretty indeed and will surely make a very successful crown.
7 September 1934
This idea of fresco seems to be a very good one and the wall of A's room on B's terrace quite an ideal place. There is only one point: will the lime hold on that wall which is now painted? This is to be asked of C.
It would be very nice to have a sea view there.
(About some cards done for people associated with the artist in his work, whose names were sent along with the cards)
The cards are all very nice, some extremely pretty. I am sending them back for distribution except one that D has chosen and kept with great pleasure.
All the names are all right.
27 October 1935
Page 273
(About sketches for paintings on asbestos sheets to be fixed on the walls of the Town Hall)
Yes, it is all right. When the sketches are ready they will have to be shown to the Mayor and the Governor and this will take some time. That is to say between the sketches and the actual beginning of the painting there will be plenty of time for the exhibition and the Darshan.
As I told you, it would be good to show the sketches to the Governor on the 10th of this month or about—because the "Conseil Général" is sitting just now and the final decision has to be taken by this "Conseil". Four sketches and the elevation of the room will be sufficient.
1 November 1935
(About the sketches for the Town Hall painting)
They are truly very fine. I see no change to suggest.
3 November 1935
(About the exhibition of paintings by Ashram artists held at the end of December 1935. Some paintings were presented to the French Governor.)
I forgot to tell you that the two pictures for the Governor have to be signed before they are framed. Will you inform E of this?
The exhibition seems to have been a great success.
With our blessings.
6 January 1936
Page 274
(I am sending you some art books for your opinion. I want to know your opinion about Ceźanne and Van Gogh, because they are praised so much by modern critics.)
The pictures by Cézanne and Van Gogh in the books you have sent are very beautiful (especially those of Cézanne). I shall return the books in one or two days—I want to look at them carefully.
12 March 1936
If you feel no true urge to paint, I see no necessity of your painting.
Blessings.
April 1939
Your way of approaching art is the right one and if you continue, keeping an absolute sincerity in your attitude and your attempt, you are bound to succeed.
There is something correct in your appreciation of oriental art, but it is incomplete. However we shall leave the subject for the moment, for I have no time to explain all that just now. As for Léonard de Vinci, Michel Ange1 and Raphael, I cannot put them on the same level. The two first are far greater than the last. They both belong to the world of creative force, Léonard with more subtlety and quiet, deep vision and purity, Michel Ange with more force and power especially in his sculptures which are incomparably magnificent. Raphael is more mental and superficial.
30 June 1939
Page 275
X told me that you have given permission for the decoration of the meditation hall. I had intended to decorate only the room where you used to sit for Pranam. I hear you would like the whole hall and the space up the staircase to be done. This is a very big scheme. But Y also intends to do the work and, if asked, X may also join.
What I wish to tell you is that to make the work harmonious and quiet only one person must design the whole thing, and all must work in the same manner. I would like to know from you if you have any subject matter. I wish to know from you how the thing should be done. Please let me know your idea.
I agree that one person alone must design the whole thing, the others can join in the execution only.
I have no subject or scheme. I only wish that the decoration should be quiet from the point of view of colour and also of composition.
Do some sketches and projects, and send them to me.
31 July 1939
Page 276
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