Painting as Sadhana

Correspondence (1936)

6-1-1936

Mother [on a thick, ruled chit paper]:

Krishnalal,
I forgot to tell you that the two pictures for the Governor have to be signed before they are framed. Will you inform Nishikanta of this?

The exhibition seems to have been a great success.

With our blessings.

*

6-1-1936:

Mother,
To-morrow we shall take down the pictures and put them in the rooms decided for them. To cover them some good cloth like oil-cloth is necessary, to prevent dust and insects.

Mother: You can ask from the B.S. If they do not have, it will be bought.

K: There are four pictures with gloss excluding one from Cocotier which I think can be again put in its place. But what to do with 4 glass-pictures? Should they be put in the same room in which all the pictures are to be put?

The rooms in which the pictures are to be put seem more damp. I do not know if that will affect the pictures which will be on the wooden benches.

Mother: What is damp in the rooms? the floor or the rooms themselves because of a lack of ventilation?

K: I have asked Nishikanta to sign the picture which he is to touch [up] also in some places.

May I ask Chandulal to prepare two planks to be put at the back of the pictures for Governor?

Mother: Yes—glasses also are required.

K:

Mother,
May I request to have some talks with Mother as blessings on behalf of the artist group. We are all eager to have an interview with Mother.

Mother: I will let you know as soon as I have some time.
Blessings.

*

7-1-1936:

Mother:
C. Vishnu
D. E. Anil kumar
B. G. pictures
A. F. work for the Mairie
H. Nishikanta.

*

7/1/1936: [end]

I would like to have two curtains from that if Mother can spare.

Mother: Yes, you can have them.

*

9.1.1936:

Mother,
Myself and Jayantilal have begun the work of the decoration of the Town Hall. At present we will do the work from 8 to 12 in the morning and some study work from nature for that in the afternoon.

Who is to be in charge of the pictures which will be kept in the exhibition house? I think they will require fly-tox at certain intervals.

Mother: It seems to me that the same arrangement as before the exhibition can continue.

K: We occupy the central hall (A) and the room (e) (in which Nishikanta lived during the exhibition) as it is nearer to the bath room.

*

10.1.1936:

Sri Aurobindo: What you write about the expression of beauty through painting and the limitations of the work as yet done here, is quite accurate. The painters here have capacity and disposition, but as yet the work done ranks more as studies and sketches some well done, some less well than as great or finished art. What they need is not to be easily satisfied because they have put their ideas or imaginations in colour or because they have done some good work, but always to see what has not been yet achieved and train the vision and executive power till they have reached a truly high power of themselves. Nandalal's saying is true, but the three have to be combined and developed and harmonised in their combination to a sufficient degree before they bear the fruit of finished or great art.

[This is a type-script with corrections done by hand. Underneath is pencilled a triangle with "Inspiration" written on top, "Nature" at bottom left, and "Tradition" at bottom right.]

*

18-1-1936: [end]

…my painting work comes in the way; then shall I have to leave painting to be always in the Mother's touch?

Sri Aurobindo: Of course everybody is here for Yoga and not for painting. Painting or any other activity has to be made here a part of Yoga and cannot be pursued for its own sake. If it stands insuperably in the way, then it has to be given up; but there is no reason why it should if it be pursued in the proper spirit, as a field of and for spiritual growth or as a work done for the Mother.

*

22-1-1936:

Mother,
As we have begun the first panel of the decoration work we find that both of us can't work on the same picture because of different methods of executing it. If we do separately, pictures of one wall each, and then there is the possibility of a marked difference in execution of the pictures on opposite walls.

In this matter how should we work?

Sri Aurobindo: Mother thinks that if you are careful to use the same set of colours, then each could do the pictures on one wall without creating any impression of disharmony.

*

27-1-1936:

Mother,
Since some days I remain in a condition which I don't understand. In the beginning I felt very good, quiet and with constant aspiration to be under the Divine's influence. It would go away for some days, but again be resumed after some days.

But for four or five days I am not able to keep the aspiration but on the contrary I have headache. Generally I am quiet during all these days. But I don't understand the reason for my headache.

I find that I cannot do the work of decoration with the concentration as it ought to be done. I do that work but not with much of interest in it.

May I know from Mother what this is due to? Is there anything wrong with the decoration work that brings the headache or is it my inner condition that does not allow me to remain concentrated?

Sri Aurobindo: There is no reason why the decoration work should cause headache. Mother has put much force into it.

*

7-2-1936:

Mother,
In the Painter's House there are many insects, such as, silverfish, white ant, red ant and many others. Red ants are moving in all the rooms. When we are working they come over to eat the colours because they are mixed with eggs they move over the pictures continuously even when we are working over them, to eat the freshly applied colour. The ants get over our bodies and bite us also.

We do not know what to do with them.

Mother: If you can find out from what hole they come out, place every day near that hole some sugar or some crumbs of bread (not always the same thing), it will save you much of the trouble.

K: The two decoration pictures that are finished are kept on the cot which was in the room which I temporarily occupy. I don't use the room so I wanted to return the key of the room to Nolini, but as we have need of a cot and there is none in the stores I take out the cot and return the key to Nolini.

Mother: It is all right.

K: I want to study water-lily and ducks which can be found at some distance from here. If Mother can permit me to use the cycle it will be convenient for me to go.

Mother: I enclose a chit for Benjamin.

K: If Mother has got any books in which there are good photographs of different kinds of birds I would like to study from it also.

Mother: I shall see if there is any that I can lend you.
By the way, Dayakar had a good number of fine photographs of birds. You might ask him to show them to you.

*

9-2-1936:

Mother,
I intend to do the decoration work (of my part) in my room. As we are already doing the work quite independently, except preparing the colours, there will not be any inconvenience to us.

Mother will kindly allow me to do so if there is no objection to Her.

Sri Aurobindo: There is no objection. Only you must be careful that the colours are the same.

*

24.2.1936: [end]

If Mother has no objection and if She can permit me I may go for three weeks.

Sri Aurobindo: But what of the Town hall work? How can you go leaving that undone?

*

14.3.36

Mother:
Krishnalal
It seems that the two ducks are destroying the plants and the flowers in the "painters house". I suppose you need them no more as you have finished that panel. So it would be better to get rid of them in a way or another, either giving or selling them away.

*

15.3.36

Mother:
Krishnalal,
I am sending you back your sketch book. The sketches are indeed very good, quite interesting, all of them.

*

3.Apr.1936:

Mother,
Since some days I feel much tired even though I don't work heavily at anything.

I feel the nerves tightened up sometimes so much that I cannot keep myself steadily at any work and I cannot keep quiet and call down Mother and have peace; I even cannot relax, to try to do that means more tightening of the nerves. I cannot sleep easily. Last evening I felt much tired and so tried to go to sleep early but for two hours the head remained as if blocked up and no control over myself except to while away the time moving this side and that side.

Generally while doing the painting work I am in inner delight and free from disturbances but in doing this last panel I can't get into that condition; though the panel I am doing but I am tired after working for a short time.

There seems to be some rigidity in some part of the nature. During Pranam I find that I find myself stiff before Mother.

Now-a-days I remain constipated also. I don't understand what the difficulty is and how to remove it.

Sri Aurobindo: Have a strong will to open entirely to the Mother so that this may go. Also try to put yourself into your work—if you can take pleasure in the work, that will help to get rid of the rest.

*

21.4.1936:

Mother,
What is to be done of the materials bought in the decoration (Town Hall) account? There are following things: Brushes, a pair of mortar and pestle, 3 mats, and earthen vessels.

Mother: Those things that can be of use for you and Jayantilal, you can divide among you. The other things can be kept for general painting use.

*

29-4-1936: [end]

…pensable in the remaining work of fixing the decoration pictures or about that time.

If at all I go I shall return in about a month's time.

Sri Aurobindo: I suppose it depends on whether the fixing can be done in time.

*

30/Apr/1936: [end]

…has no objection.

I am sure to return before the fixing work can begin.

Sri Aurobindo: Very well.

[Underneath is pencilled, "(permission to go to Ahmedabad)"]

*

1.5.1936: [end]

N.B. I may start latest on Monday.

Sri Aurobindo: Mother can see you for a few minutes only after 1 o'clock on Sunday.

*

3 May-1936: [end]

…contained in my trunk they may like to see them (pictures without frames).

I may take them with me and bring them back also with me with care.

Sri Aurobindo: Yes, you can do that.

[The next day, Krishnalal left for Ahmedabad. He returned on 29 June after holding exhibitions at Ahmedabad and Baroda.]

*

Aug.1936:

Mother,
Jayantilal writes to me and wants to know whether the fixing of the pictures in the Town-Hall is to begin recently or it will take time. If Mother knows anything She will kindly let me know so that I can inform him.

Sri Aurobindo: There seems to be no present prospect of it, as we have heard nothing from David.

K: I want to practise on my Israj with Madangopal and Vishnu. They have no objection. Can I do it with them?

Sri Aurobindo: Yes.

*

9-Sept-1936:

Mother,
Herewith I send a line drawing of Sri Aurobindo which I have done after tracing from a photograph. I had the invitation to do it. I send the letter asking me to do it. If Mother finds it satisfactory for sending it for publication I may send it.

Sri Aurobindo: I am afraid it cannot be sent or published.

*

30-Sept.1936:

Mother,
We have done some decorations in Purani's room, on door, boxes etc. I would like to show them to Mother. May I suggest to Mother to see them tomorrow after distributing the pay if possible?

Sri Aurobindo: Mother will decide when she is downstairs.

*

Oct.1936:

Mother,
Since two days I remain disturbed in the nerves. I don't get sound sleep during night or day. A little headache is there. I can't keep myself steady so much as to bring quiet or peace.

Sri Aurobindo: Is there any specific cause of the disturbance?

[37-year-old Dahilakshmi, Tulsibhai's wife, had died two days earlier, on the 2nd. See Notes below.]

*

Oct.1936:

Mother,
I think that there were two reasons for my disturbance. I went to burning place (in case of Dahilaxmi) and so I was tired and so there was nervousness. The main thing might be that I was disturbed during night by the cries of P [who had become insane]. I woke up and could not sleep for 2 hours when I had the ideas of madness pressing on my nerves. Both these incidents took place during the interval of some hours and so that had the effect on my nerves. This is what I think. Last night I had good sleep and I feel better.

Sri Aurobindo: That is good. It was evidently the strain on the nerves all worked up by the vibrations in the atmosphere. It should not be difficult to throw it off.

[See Notes below.]

*

21.10.1936:

Mother,
Since two days I remain quiet and very light internally. To-day at noon I was sleeping when I had some dream. It stopped & I felt that I should be completely passive. I became passive and in that condition I felt something like light descending from above the head. But when it came down it was a mixture,—confusing—and disturbed and blocked the nerves in the head. Then I woke up and found that a little headache had begun.

Sri Aurobindo: It is the resistance of the nature, especially the outer or physical nature, which creates that difficulty. For its inferior consciousness mixes with the light and stops or obstructs its action and blocks its passage through the physical brain, nerves and cells. If the psychic being is brought forward and its action has cleared the mind, vital and physical sufficiently, this resistance is diminished and practically disappears, for the psychic influence refines the stuff of consciousness everywhere and makes it plastic and pure.

*

30.10.1936:

Mother,
To-day during meditation gradually I became quiet more and more, and at the end I nearly entered into the condition of passivity. This condition is attained sometimes while meditating. To-day also I felt in the condition that some descending movement or connection with something above the head was going to take place. But there was something in me which felt itself unable to bear that result (or the fear or hesitation?) and so I could not leave myself completely in that passivity. What can be this which was not ready to allow the connection with higher thing? In this way if I get the passivity should I allow it to continue and have the result it brings or what should be the proper attitude?

Sri Aurobindo: It is probably the physical mind that is afraid of entering into so unusual a state for it. You must get rid of the fear—throw it away when it comes, and then let the meditation proceed.

*

2-Novembre-1936:

Mère,
J'apprends français. Je vous prie pour une copie du "Prières et Méditations" en français. Mother [re-writing]: Mère, J'apprends le français. Je vous prie de me donner un exemplaire des "Prières et Méditations" en français.

Mother: Je vous enverrai le livre demain.

K: J'ai preparé quelques études des plantes et quelques copies des peintures d'Ajanta. J'aime à vous les montrer si vous me donnerez un entretien à votre convenance. Mother [re-writing]: J'aimerai vous les montrer si vous me donnez une entretien quand cela vous sera possible.

Mother: Je pense pouvoir vous voir Mercredi prochain le 4—vers 1hr1/2.

*

30-11-1936:

Mother,
I want to copy two paintings from Ajanta books. I think of doing them in tempera style on wood. For that I asked Chandulal if there might be old pieces of teak wood of 4′ × 2′ size. But that he has none. So I asked him whether I could see for the teak wood pieces of some suitable size in the timber godown. To which he flatly refused. May I pray to Mother to arrange for me two pieces of wood (size I may select from the stock)? If they are old—from rejected doors etc—so much the better.

Mother: I have asked Chandulal if he has an old door that he could give.

*

5/12/1936:

Mother,
As the planks of the required size are not there I think of doing tempera-copies on the everite of which I require 2 pieces (1 × 1/2 metre each).

Sri Aurobindo: You can ask Chandulal for the everite pieces.

[Pencilled on top right "(2 volumes of Ajanta paintings)"]

*

14-12-1936:

Mother,
May I know something for my portrait-painting? I am trying out at present the techniques of putting the colours, the boldness of using the colours etc. I don't get the real personality of the model in portrait. Is it due to the above reason—about technique? Or is it that I have no insight for that? How should I be doing the portrait? Or if there is anything objectionable in my portrait-painting. Mother will kindly let me know.

Sri Aurobindo: The failure to bring out the personality is not at all due to any defect in the technique. With any technique the personality can be brought out. But to get it one must come out from one's own personality, one's ego with its characteristic and limited look on things, and identify oneself with the person of the sitter—that is how one seizes it and can naturally bring it out in the painting.

*

22-12-1936:

Mother,
Herewith I send a still-life study which I did recently, and also two cards which Madame Colin gave me as present. Madame Colin saw some of our pictures and was pleased. It seemed she was interested in art. She talked about the artists and modern art in France etc. There is one snow-picture of Romen which is framed with glass and dealwood on its back. We found insects behind the glass which spoil the picture. Insects may be there due to the dealwood.

Mother: It is better to remove the plank and the glass and to fly-tox the picture.

*

24.12.1936:

Mother,
There seems some resistance in some part in me. I do not know where or how. I pray Mother to help to get it cleared.

Sri Aurobindo: It is by aspiration and will that you can get the resistance cleared. The Mother's help and her force will be there with you.