An account of Huta's sadhana & the grace showered on her by The Mother - especially how Mother prepared her for painting the series: 'Meditations on Savitri'.
The Mother : Contact On Savitri
This book tells the story of how Huta came to the Ashram and began her work with the Mother. It presents a detailed account of how the Mother prepared and encouraged her to learn painting and helped her to create two series of paintings: the 472 pictures comprising Meditations on Savitri and the 116 pictures that accompanied the Mother's comments titled About Savitri. During their meetings, where the Mother revealed her visions for each painting by drawing sketches and explaining which colours should be used, the unique importance of Savitri and the Mother's own experiences connected to the poem come clearly into view. The book is also a representation of Huta's sadhana, her struggles and her progress, and the solicitude and grace showered on her by the Mother.
THEME/S
The Mother distributed on 2nd February 1960—the day of Mahasaraswati Puja—the message she had sent me in advance.
Sri Aurobindo throws more light on the Gayatri:
The Sun is the symbol of the divine Light that is coming down and Gayatri gives expression to the aspiration asking the divine Light to come down and give impulsion to all the activities of the mind.
In this Yoga also, we want to bring down the divine Sun to govern not only the mind but the vital and physical being also. It is a very difficult effort. All cannot bear the Light of the Sun when it comes down. Gayatri chooses the Divine Light of the Truth asking it to come down and govern the mind. It is the capacity to bear the Light that constitutes the fitness for the Yoga.
It was interesting to read the Mother's book, Words of Long Ago, in which she had stated about the "Sun of Truth", before she knew about Sri Aurobindo:
My wish is that we may take the resolution to elevate ourselves daily in all sincerity and goodwill, in an ardent aspiration towards the Sun of Truth, the Supreme Light, the intelligent source of life of the universe, so that it may penetrate us entirely and illumine with its great brilliance our mind and heart, all our thoughts and all our actions.
Doris and Aunt Margaret came to meet me separately at the Palace Hotel. They found my room exceedingly small. I told them: "I intend to go to Mrs. Bee's House as soon as the room I want is vacated".
Sudha and I, after college, went twice a week in the late evening to one of the Educational Institutions run by the LCC—London County Council—where we were learning how to make flowers from silk, satin, velvet and cambric. We were also learning bead-work on a tambour-frame twice a week as previously arranged. There were two lady-teachers—one ample in proportions, rather strict and glum, the other slim, smiling and sympathetic. We were introduced to several sizes and shapes of tools named goffer, curter and marker. Besides these, our requirements were: forceps, gloves, scissors, a small electric hot-plate, gelatine powder, tissue-paper, a tiny cushion and so on. We made quite a number of flowers—roses, carnations, buttercups, daisies, love-in-a-mist, chrysanthemums, pansies and poppies. I loved making roses, which when finished looked like real roses, and I made them even more attractive by spraying them with rose-perfume.
The slim teacher called me "Butterfly". This reminds me of a letter by the Mother to me:
Do not be confused. All this is to teach you to be like a butterfly without care for the future—leaving all to the care of the Supreme in full trust and confidence.
On the third floor two teachers were teaching us head-work on a tambour-frame. There were two stands supporting the frame. Each student had her own frame. We had to sit on a chair to do the work. First we passed a long thread through beads and stabbed the special hooked needle through the respective designs on the material which was fixed in the frame. The real pattern took shape automatically under the frame. We did many specimens on diverse coloured cloths. Then we made white satin evening-handbags with bugle-beading and pearls. Finally we sewed on them elegant handles with chains. Our teacher informed us: "Girls, do you know at what price these types of evening-bags are sold in big shops? Not less than 50 guineas!"
The teacher examined my work and said: "Miss Hindocha, would you like to take a job in our college? We do admire your efficiency in work and it will be a great help." I said: "Madam, I am very thankful to you for offering the job, but I can't stay on in London, for my home is in India." She tut-tutted.
In that class when there was no bead-work, the teachers taught some ladies how to make hats. They showed us several hats, also a beautiful satin gown
which was heavily encrusted with pale rubies, pearls and bugle-beading. They said with pride: "Occasionally we make gowns for the Royal Family."
The Mother sent a folder. On the right side there was a reproduction of a painting by Pramodkumar. It depicted two golden swans gliding in a vast sky. Underneath the picture the Mother had inscribed:
"Les annonciateurs du monde Supramental."
("The announcers of the Supramental world")
On the right she had written:
To My dear little child Huta With my love and blessings
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