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
On 6th November the Mother met me in the morning in the Meditation Hall upstairs and explained to me the ninth picture:
A glamour from the unreached transcendences Iridescent with the glory of the Unseen, A message from the unknown immortal Light Ablaze upon creation's quivering edge, Dawn built her aura of magnificent hues And buried its seed of grandeur in the hours. ||1.26||
She drew a faint line here and there on a piece of paper, I could hardly make out anything. The Mother wished me to use various colours for the painting. She asked me:
Have you seen the dawn?
I said: "No, Mother, because I work late at night, I cannot get up early to see the dawn. I am sorry." She laughed softly and left me in an ambiguous state.
I was terribly nervous when I reached my apartment. Tears welled up in my eyes and I thought again and again: "Why, O why, did I take up this difficult work?" My anger rose to match the situation. Then at last I dragged myself towards the easel in my studio, I sat on a chair, squeezed out several colours at random on the palette and started blindly giving strokes here and there on a board with one single brush, without thinking, caring or even trying to sketch the Dawn. In the afternoon I went to the Mother. She looked at the picture—a meditative gleam in her eyes—and said:
Oh, it is excellent!
I frowned with perplexity. She laughed and said:
You see, while I was taking my lunch, I was thinking that I did not quite make the girl understand how to paint the Dawn. How is she getting on with it? Meanwhile, I saw Sri Aurobindo in a vision. He informed me that I should not worry about the girl, she is getting on well with the painting. And now I can see what he meant!
At that very moment I was made to understand that not only did the Mother's Consciousness help me in this work but Sri Aurobindo's Consciousness too played its role admirably.
According to Sri Aurobindo,
Dawn always means an opening of some kind—the coming of something that is not yet fully there.
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