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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'.

My Savitri work with the Mother

  The Mother : Contact   On Savitri

Huta
Huta

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.

My Savitri work with the Mother
English
 The Mother : Contact  On Savitri

08 November 1961

On 8th morning the Mother instructed me about the tenth picture:

On life's thin border awhile the Vision stood
And bent over earth's pondering forehead curve. ||1.27||

The Mother saw my picture in the afternoon and liked it. I drew her attention to the arms of the Vision: "Mother, aren't they too long?" She assured me:

Never mind, they are impressive and symbolic.

Then she got up from her high-backed carved chair, came very close to me, looked at my face with her luminous gaze for a few minutes, cupped it in her hands and said firmly:

Now, just now I saw a beautiful, brilliant face of an angel—one day it will come out.

She kissed me on my forehead and bade me au revoir.

In the domain of our souls there are numerous beautiful beings or angels. When the Mother spoke, she always meant the spiritual and occult truths, which are beyond our comprehension.

The Mother gave the direction of picture eleven:

Once more a tread perturbed the vacant Vasts;
Infinity's centre, a Face of rapturous calm
Parted the eternal lids that open heaven;
A Form from far beatitudes seemed to near. ||1.30||
Ambassadress twixt eternity and change,
The Omniscient Goddess leaned across the breadths
That wrap the fated journeyings of the stars
And saw the spaces ready for her feet. ||1.31||

She sketched the figure and said:

Only the head must be prominent—of the rest you must give only an impression.

The Mother saw the picture in the afternoon. Usually she asked me to alter paintings if necessary or she would ask me to do the painting all over again. I respected her will.

Now it was picture twelve.

Earth felt the Imperishable's passage close:
The waking ear of Nature heard her steps
And wideness turned to her its limitless eye,
And, scattered on sealed depths, her luminous smile
Kindled to fire the silence of the worlds. ||1.33||

The Mother did the sketch and explained:

Here you must show the jaw and the lips and all the heavenly bodies below the chin. The Sun must be in one corner—bigger than the other planets.

I did the painting which the Mother approved.

Picture number thirteen was explained to me by means of a sketch.

All grew a consecration and a rite. ||1.34||
Air was a vibrant link between earth and heaven;
The wide-winged hymn of a great priestly wind
Arose and failed upon the altar hills;
The high boughs prayed in a revealing sky. ||1.35||

She said:

The flowers and trees must be visible, but in the background there are mountains. Then show the movement of the wind in the sky by giving certain strokes.

I did so. The Mother liked the painting.









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