The Mother's Embroidery Department

Origins of the Embroidery Department 

When the Mother decided to form a fully equipped Ashram collectivity, a self-sufficient unit within the town, each group of activities was known as a 'department' or a 'service'. Thus, we always spoke of the unit for construction and maintenance of houses as the Building Service and the group looking after the clothing of the Mother and Sri Aurobindo as the Embroidery Department. This department grew into prominence simply because the everyday wear and tear of the Mother's clothes had to be taken care of.

The photographs taken in the latter part of the 19th century show the Mother in long dresses reaching down to the ankles — just as the women in France wore in those days. But those taken in Japan in the early 20th century (1916 to 1920), show her wearing the Japanese kimono. After 1920, when she came to India, the photographs show her wearing a gown or a saree.

In 1946, when she started playing table-tennis in the evenings, she would wear a saree. In 1948, she changed into salwar kameez for the game of tennis which she started playing then. After her game, around 5.30 or 5.45 p.m., she came to the Ashram Playground and was there till about 8.15 or 8.30 p.m., at times even till 9 p.m.

Needless to say, her elegance was unsurpassable in each attire, as is apparent in every one of these pictures. She was indeed the very embodiment of grace and refinement. The Embroidery Department of the Ashram spent all its time and energy creating with thread and needle exquisite dresses for the Mother. It also took care of mending the Mother's as also of Sri Aurobindo's garments. For these young women working in this department, it was a unique occasion to feel close to the Mother and Sri Aurobindo, and they felt it was a special grace bestowed on them to be able to help the Mother in this way; everything was done with a loving care as part of their spiritual life, it was their sadhana. Let us go back in time and try to find out how this unusual department came into being and developed into an important feature of the Ashram.

Dorothy Hodgson, an Englishwoman, had met the Mother in France in 1915-16. When the Mother went to Japan in 1916, Dorothy was teaching in a well-known school in Japan. She was about six years older than the Mother. She saw the Mother again in the beautiful garden of cherry blossoms of Japan. At the very first sight of the Mother amongst the cherry blossoms she felt that the Mother was not an ordinary human being, that she was the Divine in a human form. She felt attracted to the Mother and took the opportunity to help her with a few of her minor needs. When in 1920 the Mother decided to come to India, she asked Dorothy whether she would like to accompany her — and that is how Dorothy came with her to India. Shortly after their arrival, there was a great tempest and heavy rainfall, a nearby house collapsed. The roof of the Mother's house started leaking dangerously. To avoid any accident Sri Aurobindo asked his young followers to help them shift to the residence where he was staying with these young men.

Sri Aurobindo gave the Mother's companion, Miss Hodgson, a new name — 'Datta' — entire self-giving. And she did offer herself entirely to them. In 1922, the Mother and Sri Aurobindo shifted from the building where they were staying — Guest House — situated on François Martin Street to a new house referred to then as the Library House situated at rue de la Marine, on the South-Western side of the present Ashram building. Datta, their full-time attendant, stayed in one of the rooms on the first floor of this building. In 1927, the Mother and Sri Aurobindo shifted to the present section of the Ashram building known as the Meditation House. Datta was given accommodation in a building across the road on the western side of the main Ashram building, now known as 'Datta House'.

In that spacious building Datta made arrangements for all her work — a kitchen for cooking, another small room for storing coal, a different place for washing vessels, and one for washing clothes. There was a long hall where clothes were dried. Datta worked there with her helpers. She took care of all the linen used for the Mother and Sri Aurobindo and all personal clothes of the Mother were also taken care of by her. She was a perfectionist in her work. In 1927, the Mother accepted Vasudha, a young Gujarati girl of fourteen who had come here with her brother Chandulal, as an inmate of the Ashram. She sent her to Datta, to be trained in all that had to be done for the Mother's clothes. Swarna, a Bengali woman from East Bengal, who came here for the first time in 1933 was also sent to Datta by the Mother to learn this work. These two finally took care of all the clothes used by the Mother. Datta taught them cutting, stitching, as well as mending the Mother's and Sri Aurobindo's clothes. They learnt from her how to wash and even the way to iron all that the Mother used for her everyday wear.

Mrinalini Chattopadhyaya, a devotee of Sri Aurobindo, used to visit us in that house. She was the sister of the well-known politician of those times — Sarojini Naidu. During one of her visits in 1923, she taught the Mother how to wear the saree. Both the Mother and Datta now discarded their usual western attire and started wearing the saree. We have heard that initially the Mother had only two sarees. She would wash one, wait for it to dry to wear it again. Her saree was even patched up over torn places. We come to know of this through one of her letters written to Vasudha on December 10, 1935.

My dear little smile,
You are quite right. I prefer a beautiful embroidered sari to a lace gown by far. It is not a question of number or need. For years I was perfectly satisfied with two saris per year — but I am proud of the beautiful things my dear children make for me and I wear them with love and joy. . . .
My blessings and love are always with you.
Your maman

(Letters to my little smile, p. 107)

Later on, in the morning hours, the Mother used to wear an inner chemise over which she put on a long ankle-length silk gown with short sleeves, then a sleeveless coat reaching down to her knees. The coat was made of a very light material and had beautiful embroidered designs. When she met people she covered her head with a veil — a piece of cloth fixed round her head. After her bath late in the morning she put on a saree with a matching blouse. Her blouses were long. A gown-like petticoat of matching colour was stitched. Over this she used a broad cloth band to tuck in her saree. Her head was always covered with the pallu of the saree, which was kept in place by tying a narrow band of cloth, known here as the crown. She wore a light pair of sandals. In 1948 when the Mother started to play tennis, she wore a salwar and kameez with a kitty cap covering her head. Henceforth this was her evening attire. She stopped wearing a saree every day. She wore a saree for the special blessings on the four puja days. However, on her ninetieth birthday in 1968, she put on a saree for that special occasion. From the middle of March 1960 her daily programme changed. She stayed in her room on the second floor of the main Ashram building. Now instead of the coat she used a stole over her gown. All her garments were hand-stitched. She never bought any clothes for herself. The Mother wore whatever was offered to her by the devotees.

Sri Aurobindo's answers regarding the Mother's attire:

Why does the Mother wear rich and beautiful clothes?

Beauty is as much an expression of the Divine as Knowledge, Power or Ananda. Does anyone ask why does the Mother want to manifest the divine consciousness by knowledge or by power and not by ignorance and weakness? It would not be a more absurd or meaningless question than this one put by the vital against wearing artistic and beautiful dresses.

27 February 1933

(CWSA, Vol. 32, p. 596)

*

Does it make any difference to the Mother's consciousness whether she puts on the best saris or the old ones, whether she lives in a palace or a forest? What do these outer things add to the inner reality?

Outer things are the expression of something in the inner reality. A fine sari or a palace are expressions of the principle of beauty in things and that is their main value. The Divine Consciousness is not bound by these things and had no attachment, but it is also not bound to abstain from them if beauty in things is part of its intended action. The Mother, when the Ashram was still unformed, was wearing patched cotton saris; when she took up the work, it was necessary to change her habits, so she did so.

22 October 1935

(CWSA, Vol. 32, p. 596)

Some ladies started embroidery work quite early in the Ashram. We find in the monthly magazine Mother India as well as in some old publications of the Bengali quarterly Bartika interesting details regarding this activity. A few of those who work in the Embroidery Department today have also shared with us their views and experiences. It is from these main sources that we have built up the account of this department.

*

This is how things seem to have taken shape. A few young ladies had joined the Ashram between 1927-1929.¹ The Mother had given them work in different departments, and yet what was common to all of them was that they did some embroidery for the Mother. This they did in their own homes after their regular work in other departments was over. They embroidered beautiful designs on tablecloths, bedspreads, cushion covers, wall hangings, tray-cloth, handkerchiefs and many such things. All of these were done as an offering to the Mother. This activity also became a part of their spiritual life here, and it gave them immense satisfaction and pleasure.

¹ We have gathered from old articles the names of some of the ladies of those years: Meenakshiamma, Lalita, Vasudha, Tripura, Tara, Subhadra, Lila, Sahana, Padmasini, Tajdar.

Lalita, a Parsi lady, who arrived here in December 1927, wrote that once she did a very detailed embroidery work on a kimono for the Mother; the design was of the Buddha seated in his well-known posture, with a group of his disciples all around him. It took her a pretty long time to complete the work but she managed to finish it. The Mother, she says, looked magnificent in it. Lalita embroidered one of the Mother's sarees with the design of swans and silver clouds. Meenakshiamma, Tripura, Tara and Vasudha helped her. She had been also entrusted by the Mother to stitch her blouses and her crowns.

One day, Lalita asked Vasudha how she managed to keep her patience for months to finish one saree. Vasudha replied that every day she concentrated only on what she had to finish on that day and never thought of the rest of the saree. This was a very good lesson for Lalita, who considered herself to be of a very impatient type. She writes that when she was doing the embroidery work on the Mother's saree she kept on wondering when she would complete it!

Lalita mentions a work done by Tara and Lila. Usually these two did the embroidery work on different pieces other than sarees. She says that once Tara embroidered the design of a lion on a bedcover for Sri Aurobindo and it was done very well and was admired by everyone, specially by the Mother and Sri Aurobindo.

The first name that occurs to us, prominently, in golden letters, is that of Vasudha, known to the younger generation as 'Akka' — 'elder sister' in Tamil. 'Embroidery' and 'Vasudha' always go together in the Ashram. A few days after her arrival, when she was receiving her cup of soup from the Mother after the evening meditation, she noticed a band with some ordinary zari-work around the Mother's head. She told the Mother in Gujarati that she knew how to do this type of work. The Mother did not understand her Gujarati. Champaklal who was present there explained to the Mother what Vasudha was saying.

The very next day the Mother sent her to Datta who gave her the first work which was to make vase mats out of a fine bamboo mat. Then Datta gave her to sew the Mother's blouse. Gradually her work increased. She was washing, ironing, mending the Mother's clothes along with her regular embroidery work.

It is a beautiful and uplifting story — how a young girl of fifteen developed through the Mother's loving guiding force and was able to make embroidery a wonderful creation of art.

The Mother encouraged her to learn French and English. Vasudha also attended the mathematics class as well as a physics class conducted by Pavitra for some of the young Ashram inmates.

The Mother guided her through her difficulties and tribulations. Here are some golden nuggets gleaned from the book, Letters to my little smile, Vasudha's correspondence with the Mother.

The mind always runs like a madman. The first step is to detach one's consciousness from it and to let it run by itself without running with it. (p. 9)

. . . It is good to observe oneself in order to see one's weaknesses and to be able to correct them. (p. 9)

Keep your smile, little child, it is that which gives you your strength. (p. 11)

We shall, however, concentrate on what concerns her work.

Once, the Mother came to see Vasudha's house and asked her whether she would embroider a saree for her.

Vasudha replied, "Oh, yes!" and the Mother imitated her "Oh, yes!". In 1929, Vasudha embroidered her first saree, the design for which was made by Amal Kiran. Once the Mother had asked her to get the design made by Krishnalal, one of our artists here.

The Mother wrote to her in 1933:

I am very happy when I wear your saris, but also I want to keep them with as much care as one keeps works of art and that is why I do not wear them very often. (p. 33)

At that time any work for the Mother was a means of sadhana. This conscious effort of offering is expressed so well in Vasudha's correspondences with the Mother.

She would inform through her letters "I have prayed with my body" or "Today I prayed to you with my body for more than ten hours", "At every stitch that I make, I aspire to Thee, all day I try to concentrate on Thee — to keep my mind on Thee" and the Mother answered, "You are a lovely and skilful worker, my little smile, and I am proud of you and your work that is so beautiful."

Vasudha used to work ten hours or more in a day on her embroidery work. We might remind ourselves that for quite some years when her work continued into the night, she worked in the light of a kerosene lamp, as that was then the only source of light at night. Pujalal, who used to distribute kerosene to the inmates every month as per their requirement, wrote to the Mother:

It seems Vasudha requires more than two litres of kerosene and she may even require more than three litres per month. Up to what limit can she take?
I am giving her a third bottle of kerosene today.

This is the Mother's letter to Vasudha:

Little child,
What is this? Why so much kerosene? I hope you are not working at night. You would spoil your eyes and it would be such a great pity! . . . If it is for some other use it does not matter. I do not care for the kerosene but for your eyes.
December 21, 1931

(p. 4)

In was only in the middle of 1933 that an electric connection was provided to the house.

On April 6, 1933, Vasudha wrote to the Mother: "Have you seen my little roses on your gown? Are they nice?"

Mother's answer:

They are most lovely! It is impossible to say which is the original and which the copy, and it might very well be that the copy is lovelier. Did you see that I was wearing the gown when I went for a walk on the terrace? (p. 39)

The Mother wrote to her on June 21, 1933:

This morning I was literally filled with admiration. It is magnificent; the birds are so beautiful and so living; I found their little heads with the lovely little silver aigrette very pretty, much prettier than on the original. The little diamonds also are very nice, and in silver on the sari it will be magnificent.

Where did you iron? It is good that you are learning. (pp. 49-50)

Vasudha was also drawing the designs needed for her work. Once the Mother complimented Vasudha on her "most beautiful drawing. It is exactly what I wanted". On another occasion, Vasudha made a drawing of iris flowers from a photograph. She expressed her difficulty in making a design of it for her embroidery work. The Mother called her to her room and promised to help her with the design on the crown. Each time that Vasudha learnt something new, there was always a word of appreciation from the Mother. "I did not know that you had learnt knitting, — that is one more skill acquired." Vasudha cuts for the first time a chemise for the Mother, and the Mother wrote to her, "You are most hard working and diligent". The Mother sent her a sewing machine for her work.

Once when Vasudha was given a grey georgette saree to do an embroidery on its border with the design of fishes, she did not do it the usual way. She passed her threaded needle between the woven threads of the saree to create her design. This was something unique. Though Vasudha was not satisfied with her work, the Mother was very pleased to see it. Vasudha was a master of this art.

Maman, this sari that you put on today is, I think, my "finest" embroidery. Don't you think so?

It is a work of art. It is simply splendid. I feel I am clothed in light.

September 1, 1933

(p. 63)

Vasudha also embroidered a design of fishes on a handkerchief that she had stitched for Sri Aurobindo; he greatly admired it. We reproduce here a letter of Sri Aurobindo to Vasudha regarding one of her embroidery works:

Vasudha,
What a beautiful fish! and every detail so perfectly filled in! It is a supramental fish surely!
September 12, 1935

(p. 107)

In the context of embroidery, we quote a few words from Jayantilal, one of the artists in the Ashram, on Sanjivan, another artist who joined the Ashram in 1933:

Sanjivan, because he had done drawing and wished to pursue art, the Mother asked him to develop drawing and he was given the work of drawing flowers. Mother slowly began to give him the work of preparing designs for the Embroidery Department. You have no idea about the kind of work he had done in preparing designs with flower motifs. The Mother often used to give even the measurements for the designs of the sarees. She used to say the 'pallu' must be twelve inches, one border four inches and the other border must be only two inches and all these kinds of instructions. There is a very big collection of these designs which he did, and some of them I hear are not in good shape today because they were used so often.

(Jayantilal, Mother India, 1992, pp. 399-400)

Another artist, Krishnalal, also made designs for the Mother's dresses when needed.

Lalita remembered:

Once when the Mother had no new sari to wear on a certain Darshan Day, I told the Mother that I would buy one from Bombay and get a design embroidered on it. Finally the design was made, most probably by Sanjivan. It was a design of wheat stalks with a bunch of grains on each stalk. This design was embroidered with silver threads on a grey georgette sari. The Mother, very pleased, wore it on the Darshan Day and looked very beautiful.

At that time small frames used to be fixed on the sarees during embroidery work. When Lalita told the Mother that in Bombay larger frames were being used for doing embroidery on sarees, Mother had a large frame made for Vasudha. There was a special process of fixing the saree on the large frame which Lalita taught her friends after informing the Mother. (Mother India,1979, pp. 4-10)

On August 12, 1933, Vasudha informed the Mother, "I have started fixing the sari on the large frame and tomorrow this work of fixing the sari will be over. And then I shall start the embroidery . . ."

I remember that one day in 1940, as I was going to visit a lady staying in the same building as Vasudha and as I passed in front of a hall, I saw a few ladies sitting together on the ground and doing some embroidery work. I came to know later that they were embroidering the Mother's saree. I could not quite figure out as to how all those ladies could together do some embroidery on one saree. I still remember the faces of two of them: they were Meenakshiamma and her daughter, Anusuya. They must have been using the long frame made for this work.

Mother once wrote to Vasudha:

The beautiful Japanese and Chinese embroideries are always done without any cloth underneath and generally, the Japanese embroideries have no right side and wrong side. That is to say, they are absolutely identical on either side. The embroideries that they do here are, I think, quite coarse.
September 23, 1933

(p. 65)

This advice of the Mother was the guideline for the workers. The embroidery done here has such perfect stitches, and often both sides of the cloth have an identical design.

The sadhikas who worked on these designs were a devoted group. Some of them worked for 8 to 10 hours a day for eight months to a year-and-a-half to complete their work. It is only if you have a chance to see these finished pieces that you will understand the amount of work that had gone into them.

In 1933 while she herself was working on the Mother's saree, Vasudha guided two others — Bala, who was preparing a carpet for the Mother, and Subhadra, working on the Mother's blouse. They were both working in Vasudha's house. On getting this information the Mother wrote to her, "It is very good — if you continue you will soon have a little school of embroiderers!" a prophetic comment indeed! Gradually some ladies — Meenakshiamma, Subhadra, Lila, Tara, Anusuya — started doing embroidery work in Vasudha's house.

Vasudha became increasingly competent in embroidery and could do many different kinds of needlework, laces etc. She had once shown to some of her young students a thick encyclopedic volume on needlework and had told them that she could do all the different types of work detailed in that book! Thus she developed into a perfect instrument of the Mother for her work in this line.

It was quite common in those years for many young girls and ladies to do some needlework as offering to the Mother. They received unstinted help from Vasudha who taught the new girls, students or visitors alike, embroidery and hand-stitching of the Mother's clothes. One young student, about eleven years old, wanted to stitch the Mother's gown. Vasudha first took the Mother's permission who graciously allowed this little girl to stitch her gown. This young student still remembers how carefully Vasudha taught her step by step, all the care one had to take while doing Mother's gown. She sat crosslegged on the ground, first a lap cloth was put over her legs, she had to put some powder on her palms so that there would not be any perspiration to spoil the Mother's clothes. She was cautioned that the end of the thread which would be inserted into the eye of the needle should never be wetted by putting it in the mouth as is commonly done. A small bowl of water was kept there for this purpose; also no knot should be tied at the end of the thread. Lastly, the most important part, was that the worker should concentrate on her work and there should be no talking while stitching, to remember always that she was stitching the Mother's gown. She was then taught the way to stitch. She was the youngest person to have stitched Mother's gown.

Everyone was eager to prepare something for the Mother. Many, young or old, men or women did some hand work to offer to the Mother on their birthdays. It was a joy to spend extra hours trying to do some beautiful item for her. Offering these items to her was a heavenly experience and everyone was eager to get a direct contact with her through these offerings. It is incredible how the Mother appreciated and accepted each and every item however insignificant it might be! With what grace and love she received the things offered to her! It was a unique means of an unforgettable communion with her.

We mention now another example of embroidery done in those years. We have something interesting from Sahana's reminiscences. When she joined the Ashram in 1928, she was already a well-known vocalist in Bengal. She was given work in the Building Service of the Ashram and the embroidery for the Mother at home. A few years later, she was given charge of the ladies' tailoring section where the garments are stitched for the lady inmates. A few ladies worked with her.

She recounts:

The French littérateur and poet Maurice Magre was coming. I was busy embroidering a curtain for the big door of the Mother's room on the design submitted by Sanjivan . . . The old French houses of Pondicherry have large doors and windows. Consequently the curtain too was large.

I had gone to ask the Mother about some points as regards the curtain when, after a moment's reflection, she asked, "Maurice Magre is expected, do you think you will be able to finish the curtain before his arrival? There are still three months in hand." Guessing her intention, I said enthusiastically, "Yes, Mother, most certainly." Mother was very pleased and blessed me. . . .

Mentally working it out, it seemed that to finish the curtain within three months would entail a work of eleven to twelve hours a day, which I put in, but strange to say I never felt tired even after such long hours of work. The work was intricate and extensive — a very thick trunk of a tree spreading proportionate branches mounting upwards; on a branch towards the top a white peacock looking down and on a lower branch another white peacock gazing up towards the other bird. The size of the birds would come up to the stature of a full-grown Bengali girl. The design was superb too. I was surprised at the energy with which I was able to complete the work without tiring — it was clearly derived from the Mother herself. When it was taken to the Mother and spread on the floor for her inspection, I can hardly describe the expression of her eyes, I wonder if I have ever seen anyone appreciating in like manner. After looking at it for a long time with a face beaming with joy she said in French, "Oh, c'est magnifique!" Even today the same curtain is hung in Sri Aurobindo's room on every Darshan Day of 24th November; and each time I gaze at it in wonder, I try to imagine what I had offered the Mother and how she had transformed it, that even after nearly four decades it hangs as perfectly as on the first occasion — a perfect example of preserving a thing with the utmost possible care.

(Sahana, in Breath of Grace, pp. 157-58)

To the girls working with her, Sahana taught a special type of embroidery — the drawn thread technique, and they prepared a whole set of curtains in this style for the Mother's room. This type of embroidery was done here for the very first time.

Swarnaprabha, known to us as Swarna, came to the Ashram from Chittagong in 1933. She was young, fair-complexioned, soft-spoken and yet firm; she was already connected to Sri Aurobindo and the Mother through her correspondence. The call for this life was so great that she left her six-year-old daughter with her mother and had come now to serve Them.

She had brought with her some good quality wool. She wove a small mat with this and offered it to the Mother. The Mother was pleased with this work and she made some small ones and then larger ones for the Mother. Mother wanted to see her embroidery work. Swarna embroidered a small flower at the edge of Mother's saree. The Mother was pleased with the work. She was sent to Datta with whom she then worked. She had to stitch or darn the old pillow covers, bed sheets, towels, Mother's dress, saree, handkerchief etc. Both Datta and the Mother were happy with her perfect work. She was then given the Mother's clothes to wash and iron. Datta repeatedly reminded her ward, "Swarna, remember always that the Mother is not an ordinary woman; She is Divine. When stitching her clothes, it should be done in a clean manner with as much purity as possible."

Now Swarna was allotted a more difficult work. She had learned to cut the Mother's gown. The Mother would tell her the measurements needed and Swarna would quickly jot them down. All stitching was done by hand. Once the Mother received a few sarees offered to her by some businessman of Pondicherry. The Mother chose one saree and said that she would like to wear it on the next 'Prosperity' day, which is the first day of each month. That meant that there was just one day's time for Swarna to complete the work. A blouse from the same cloth had to be stitched and the pallu of the saree too had to be embroidered. Datta asked, "What, Swarna, will you be able to complete so much work?"

"If the Mother wants to wear the saree, she will make me do it," thought Swarna. The next morning Swarna had an early breakfast and sat down to her work. Her hands moved fast, silently concentrated only on her work. This was her sadhana. At eleven thirty at night she completed her work. The next day when the Mother came to the 'Prosperity' wearing the saree, what a wave of joy passed through Swarna.

And the Mother was looking at her with a mysterious smile on her face. Datta remarked, "Look, Swarna, the Mother is looking so wonderful! Do you know how many hours you worked yesterday? You have worked sixteen hours at a stretch!"

Many people offered sarees to the Mother and Swarna took care of the Mother's sarees. She would darn the places which were damaged, she would also embroider a small beautiful flower at one corner of the saree so that the Mother did not have to waste her time searching for the reverse or obverse side of the cloth.

A French couple who had lost their two beloved children had come to Pondicherry in search of peace. The Mother permitted them to stay in the Ashram and gave them work and also new names: 'Sarala' to the wife, and 'Suchi' to the husband. The Mother gave Sarala some work with her and thus Sarala was blessed with the opportunity of being in the Mother's presence every day for a short while. The Mother had sent a few ladies, Swarna was among them, to learn embroidery from Sarala. Others could not continue as they had other things to do. But Swarna continued her work, and they became quite close friends. Sarala did very fine embroidery work. Swarna and Sarala together made a chemise for the Mother, entirely by crochet work. Swarna worked on the small rose flowers while Sarala did the larger ones. These were joined to form a chemise. The Mother was very happy with the work. She looked at the chemise from all angles, appreciated it and praised their perfect work with her wonderful smile of love. We may mention here that Suchi was a very talented worker. We have seen Nolini-da with a skull cap on his head to protect him from the hot Pondicherry sun. He once told us that this cap was made by Suchi, and when the street urchins saw him in the street wearing this strange cap, they would shout gleefully, "Quel bonnet! Quel bonnet!" What a cap!

We, my sister and me, came here in 1940. I remember seeing many of the ladies then wearing sarees darned in a few places, and as I was fascinated with this work, I used to observe those parts and try to figure out how were they done. The inmates of the Ashram receive four sets of clothing every year. These get easily worn out. Mother did not like anyone to wear torn clothes. The ladies darned or patched up their sarees. The men sent their torn garments to the tailoring section of the Ashram to get them repaired.

The Mother never liked rejecting any item just because it was much used and old. Once, Swarna received a few of the Mother's kerchiefs from Datta. Some of them had been used so much that there was hardly any thread left in them. Swarna wondered how could she repair them? She mentioned her problem to Datta. Then Datta told her that once she had received one hanky which was so used and worn out that after informing the Mother, she had rejected it and thrown it in the waste paper box. Perhaps the Mother was busy with some other work and had not quite heard Datta. Later, she asked for that hanky, and being told that it had been put in the waste box, the Mother carefully searched the pile, found the hanky and took it so gratefully, saying, "You have thrown this hanky? Do you know the number of years it has served me?" For the Mother all objects, animate or inanimate had a consciousness! They were living entities.

Pranab-da writes:

Mother used to take great care of her things of daily use. She never threw her old torn clothes away. She would get them mended by Swarna-di and use them again. I remember once seeing Mother use a handkerchief which was stitched and mended like that.

Once she gave Swarna-di a dress to mend. It had become extremely worn out so Swarna-di suggested to Mother to discard it. Mother answered: "You are asking me to discard this? Do you know how well it has served me?"

(I Remember, Pranab Kumar Bhattacharya, p. 228)

Here is another similar example.

Once the Mother gave to Datta a blue satin gown covered with black lace, with instructions to see if it could be altered for the Mother's use. Datta entrusted it to Swarna who used to sew the Mother's dresses. Swarna reported to Datta that the satin had become so old that it simply disintegrated in her hands.

When she heard this, the Mother instructed, "Tell her my grandmother used to wear this gown. She should remove the satin very carefully and bring the lace-net to me." Swarna-di separated the lace-net with utmost care and sent it to the Mother.

Then the Mother said, "Tell Swarna to make a manteau from it for me. I will wear it with a satin gown." Swarna made a manteau which the Mother liked and wore over a new satin gown. We have a photograph of the Mother in this gown.

(More Vignettes of Sri Aurobindo and the Mother, Shyam Kumari, 1991, pp. 43-44)

We quote here from Priti Das Gupta's book where we get yet again the Mother's unwillingness to discard old dresses.

I would notice while going to the Mother for her blessing that flowers were embroidered on the Mother's gown at several places. It was quite puzzling to me. Minu, Jaya, Bela and others were responsible for stitching the Mother's gowns. So one day I asked Minu:

"Why do you keep embroidering flowers here and there on the Mother's gown? Can't you do it in a certain pattern? It looks so strange."

Minu laughed and said:

"Is the Mother short of gowns? But the Mother will not throw any of her old gowns away. As soon as there is a tear in the gown, she asks us to patch that area and embroider a flower over it. All the flowers on a gown just go to show how old [the gown is]. The Mother has many such gowns on which we have embroidered flowers on her instructions."

(Moments Eternal, p. 271)

When Swarna's daughter, Minu, whom Swarna had left back home with her mother in Bengal, came to the Ashram in 1942, she was allotted work with Swarna. Bela joined her in her house, and later another young girl, Madhuri was also given work there. They learnt some stitching and a little of embroidery as also washing and taking care of the Mother's garments. These young girls were later transferred by the Mother to Vasudha's workplace and in 1948 she gave a name to the workplace — "Mother's Embroidery Department". That is how this department was started and as long as Vasudha was alive she remained its overall in-charge.

Working in the Embroidery Department

Bela, one of the young girls sent by the Mother to work with Vasudha shares with us her treasured memories:

Sri Aurobindo Ashram of 2005 is so different from what it was in 1940 when I first stepped in here as a girl of 13. Our Ashram has passed through innumerable stages and phases since it was established in 1926.

My first Darshan of the Mother took place in the Ashram courtyard when she came out onto Dyuman-bhai's terrace. I stood with Nolini-da on one side and my father, Girindra Ghosh, on the other. I gazed at her with wonder! The Mother looked directly at me for a few seconds then smiled and nodded. I was overjoyed to have been noticed and acknowledged. Later, Nolini-da explained to me that by her nod, Mother had indicated her permission for me to join in the evening meditation. But a greater joy awaited me the following evening when we went to meet the Mother in her room. It is difficult for me to describe the extraordinary feeling that overtook me when I went up to her and knelt down for her blessing. It was an unforgettable experience. Then came 15th August, — another memorable day in my life. It was my first Darshan of Sri Aurobindo. Sri Aurobindo and the Mother were seated on a sofa and one by one we went to offer our pranam to them. I still remember almost every detail of that glorious day. When it was my turn for pranam I came and stood before them. Sri Aurobindo looked at me for a long time. I remained still and then I turned my gaze to Mother. She was smiling sweetly at me. This Darshan was a heavenly experience for me.

During the 25 days of my stay as a visitor in the Ashram I would spend the mornings helping Mridu-di who prepared food for Sri Aurobindo and the Mother. After my lunch in the Ashram Dining Room, I would lend a helping hand in the wiping section for a while. Once I was back in my room, I would take up my embroidery work on a silk tablecloth which I wished to offer to the Mother before leaving Pondicherry.

On the last day of my visit, I went to the Mother to present the tablecloth and to seek her blessings. Before Mother could say anything, I pleaded with her: "I like you so much, I want to stay here with you. Please keep me with you."

The Mother, with a beautiful smile on her face replied, "Certainly you can stay; but next time." Then she put her hand a few inches above my head and continued, "You must grow big. Now it will be difficult for you to stay without a guardian."

Exactly three years later, on 8th of August I was back in Pondicherry, this time for good. I was simply amazed to find that the Mother had my room ready for me! A few days later, my work in the Ashram was also decided. In those days the Mother selected the work for each one. Nolini-da called me and said that I was to go to Swarna-di's house and work there with Minu. Swarna-di used to cut and stitch dress materials and prepare gowns, coats, and other things for the Mother.

I used to watch Swarna-di take a new cloth material and cut it exactly according to a dress model made of big brown paper. I presume that these paper dress models came from the Mother's room through Datta.

The Mother always wore hand-stitched clothes. Since my childhood, I enjoyed doing embroidery. So, I was very happy to begin my work here. Minu and I helped Swarna-di in stitching and we also did a little embroidery work, usually on the border of Mother's gowns.

My working hours were 7.30 a.m. to 11.30 a.m. and after lunch, 2 p.m. to 5 p.m. everyday. Around 8 o'clock in the morning we would all leave our work to go for pranam in the Ashram. It was wonderful in those days — we had the golden opportunity of seeing the Mother several times a day. Every afternoon at 3.30 p.m. Swarna-di would give Minu and me fruits that had been sent for us by the Mother. After this, instead of continuing with our needlework we would turn our attention to washing the Mother's garments.

The Mother wanted us to learn more about embroidery, so from 1946 onwards I started going to Vasudha-ben's house with Minu and Jaya. Vasudha-ben was popularly known as Akka. Once the Mother sent word to us that she would be coming to our department and see how we were doing our work. We were very excited and immediately began to make preparations for her visit. We placed a chair for her with a beautiful cover on it. Bibha-di did an 'alpana' in front of the chair. The Mother's car stopped in front of our building. All of us were working quietly in our own places but were eagerly waiting for her arrival. The Mother came in and watched each of us doing our work. Then she took her seat and we all went to her, offered our salutation and received the sweets she had brought for us. What a lovely day it was for all of us. I remember we were blessed with another visit of the Mother to our department on one occasion of Akka's birthday.

We began to do embroidery work on a larger scale and the members of this department increased in number. Earlier we had seen Mother only in sarees and gowns, but from 1948 she started wearing salwar-kameez too when she went out to play tennis in the evenings.

Our group now consisted of Subhadra, Anusuya, Meenakshiamma, Gauri Ganguli, Ichchha-ben, Jaya, Minu, myself and our in-charge, Akka, who taught us many new stitches for our needlework. In 1946 (?) when the Second World War was coming to an end, we had a quiet 'Peace' celebration in the Ashram. It was organised by the Mother. We stitched bedcovers, tablecloths, chaircovers, cushions and cushion-covers, curtains etc. On each piece we embroidered with golden thread the design of a dragon.¹

¹ The designs of dragons were done by Sanjiban. In 1947, the Mother had given him a small card with dragons on it to be used as samples by him. In the Chinese lore, dragons, depending on their colour, represent forces of different levels in nature.

During this period, one day I had a strange experience. While embroidering an eye of a dragon, all of a sudden, I vividly felt the Mother stitching the design through me, as if she was within me and doing the work. The memory of this remarkable experience has always remained with me.

We would put our full concentration in our needlework and while we worked we tried to remember the Mother silently in our minds.

Most of the designs that we stitched in our department were the creative art of Sanjiban-da and a few were by Krishnalal-ji. On the day of the 'Peace' celebration, Sri Aurobindo's room and the Mother's room were decorated with the new embroidered linen.

Later, in 1956, when the Ashram Exhibition House was set up, all this dragon-embroidered handwork was displayed there, along with other items, for a short while for everyone to see. This was the first exhibition held in the Ashram. Till 1960 all that we stitched in our department was for the Mother's use. Gradually a change came. A variety of products were now coming up with the entry of new workers in the Embroidery Department.

We were learning something new all the time — new designs, new methods and new ways of stitching. We were learning to do embroidery on different kinds of cloth materials, with different combinations of colour threads. As I was learning externally, I was also constantly learning something deep within.

My attitude towards life, my thinking, my ideas began to change. Life becomes beautiful and meaningful when one lives and works for the Divine.

The finished products began to be displayed in the departments and some of these products were taken by the devotees as mementos from the Ashram and in return they gave an offering to the Mother.

Since we devoted most of our time to our work, we were not able to attend school as regular students, so the Mother arranged private classes for us.

In the evenings we went to the Playground throughout the week for group activities and games. One day, I was unable to perform well in a competition due to a problem with my eyes. Later, when I went to the Mother and told her about it, she looked at me and said, "What a pity, exercise and work give us good health and a good mind."

When Mother fell ill in 1962, Akka began to spend more and more time in the Mother's room. Anusuya was asked to supervise the work in the department, where not only did we do all the needlework, but we continued to do the washing and ironing of all the Mother's clothes. Work was divided very well amongst us and we always tried to work together very harmoniously. Apart from doing our own share of work, we also lent a helping hand to others whenever it was necessary. After the sudden tragic death of Anusuya, our department underwent another change. Ichchha-ben and Minu were given the supervision work. But Akka came now and then to see us at work. She would bring messages and instructions for us from the Mother. We too, on our part, would send our messages or queries to the Mother through her.

One day in 1966 Akka came to me and said, "Bela, I want you to teach embroidery to the students of our school." From then onwards, I became a faculty member of Sri Aurobindo International Centre of Education.

The children began to come to the Embroidery Department to learn needlework. As the number of students increased Akka arranged a room in 'Delafon' (the building where the students had their classes) where I was to take my classes henceforth. I began to learn a lot as a teacher; it was very interesting. An affectionate bond was growing between the children and me and I felt very happy, and I enjoy the children's company, being a teacher till today.

We may mention here that boys and girls of the age between seven and nine were the students. With much care the teachers helped them to learn embroidery. Twice a year when exhibitions were held in the department, the work of the children was also displayed. Their embroidered small pieces were indeed remarkable. The interesting part of it was that all their products would be booked beforehand as the parents bought these!

Bela's narrative continues:

Today all the work in the Embroidery Department is going on as before with the same spirit and dedication. Whatever is produced here is not only for our Ashram inmates, but for other devotees, and also for all who appreciate beautiful artistic needlework.

With the Mother's gracious help may we go on striving towards perfection and always remain open to her divine Love.

This reminiscence gives us some glimpses of the life in the Ashram of those early times and a vivid image of those wonderful years of the growth of this department under the Mother's guidance. Now we mention a few more examples of the work in the department. The work done by Sarala Ganguli (mother of Gauri-di) needs to be specially mentioned. Her embroidery was of a different kind. She used to pass the fine coloured thread within each of the woven threads of the cloth and created the effect of weaving similar to the ones found in the well-known woven sarees of Dhaka (East Bengal). Bela had learned this type of work from her and used it on Mother's garments. She used to praise Sarala-di's embroidery work a lot.

When in 1948, the Mother started wearing salwar-kameez in the evenings, one day I entered Priti's (Das Gupta) room and found Gauri and Priti sitting on the floor and doing some embroidery. On enquiring about the work I was told that they were embroidering a border on the Mother's kameez. It was the first one to be done so and I was cautioned not to tell anyone about it. The Mother too did not know about it. Priti and Gauri were the first ones to have this brilliant idea of doing some embroidery on the Mother's kameez. From then on, this dress of hers was either embroidered or painted or prepared of some beautiful woven material.

It was not only the ladies who did embroidery. One year we saw a gown for the Mother beautifully embroidered by Chandubhai, one of the workers in our electric service and also a coach for games in the Department of Physical Education. That was quite an unexpected event for us. However soon Neel, a young Parsi, appeared on the scene and joined the department. 'Where did you learn to embroider?' Vasudha had asked him once. He said that when he was a small boy, he was sent to a convent school in Bombay with his elder sisters. Boys up to twelve years were allowed to study there. In his class there were two boys. The girls had to learn to do hand-stitches in different ways and the boys were given knitting. So Neel learned to knit in the class and that was his initiation to this art. He did wonderful embroidery on gowns and kameezes and stoles for the Mother. He introduced a new aspect in the department's work: he created beautiful shades in the designs by using a small length of split silk threads in the designs which gave the effect of painting to the work. Neel said that there was always an encouragement from the Mother, who would ask Akka three or four months before his birthday on 6th March, if Neel was going to do anything. When he wanted to do something new he would prepare some designs and show them to Akka and Akka would advise him and give him the material or he would himself buy it from the market and work on it. Though Mother did not use synthetic material, the very last time in 1962, when Neel did some embroidery for the Mother it was done on a nylon piece. He had purchased two pieces — one light blue and the other light pink. He sent the pieces to the Mother who chose the blue one. He worked on that for the Mother and Neel says that he was extremely happy when she used the stole.

Silloo Solena, sister-in-law of Neel, was also doing most beautiful embroidery and for the choice of right colours for her work she consulted and took the guidance from Neel. She used to do Mother's gowns and salwar-kameezes, and sarees, in cross-stitches done on fine gauze canvas.

Some elderly ladies would take the work from the department and work at home. They received the material on which the required design would be traced along with the coloured threads for their work. They did the embroidery! And what beautiful work at that.

Not only embroidery but other types of needlework were also done here. Vasudha taught quite a number of people to prepare laces of different types such as tatting lace, pillow lace, teneriff lace etc. and beautiful items prepared with different types of laces were offered to the Mother. We have already mentioned the chemise in crochet work prepared by Swarna and Sarala. We remember also the exquisite crochet works done by Nolina (elder sister of Sahana). She used to split lengthways the silk embroidery thread which is already very thin, and used that for the crochet work. We had the opportunity to see once a shawl she had made for the Mother. It was a beautiful work and was almost weightless! In later years beautiful paintings on dresses and sarees were being developed. Sometimes another type of handwork was kept in the department — beautiful batik work done here for the first time which would occasionally be displayed in this department. This work was done under Sanjiban's guidance.

I remember seeing Gauri doing embroidery on the Mother's kameez in the Playground, while waiting for the Mother to come to her room. It was a beautiful design of a tree and a bird was sitting on one of its branches. I was struck by the way she was stitching. She took a small length of thread split it in half and used a little of it on the bird's body to give a particular shade. Neel had taught them this process. As for the tree, the trunk was stitched but leaves were left to be done. She told me that Jayantilal, one of the Ashram artists would paint the leaves. This would give different dimensions to the design. Combining painting with embroidery was a new line of development in the embroidery work in the Ashram. This was introduced by Milli (Bratati), herself an artist, in-charge of a new section, 'Art House'. It was started under the Mother's guidance, where beautiful fabric painting and embroidery work were started sometime in 1968.

Vrinda, a young student of the Centre of Education started to do embroidery. Her embroidery was unique. She filled up her designs with very fine running stitches. The shades were marvellously blended. Her first offering to the Mother was the portraits sketched by the Mother of herself and Sri Aurobindo, now done in embroidery. When Akka took her work to the Mother, the Mother passed her palm a few times lovingly over the design and her comment was: "Oh this is not embroidery, this is painting!" Vrinda is still producing her wonderful work which for her is her offering to the Mother. Some of the women of the department are now learning with Vrinda's help to embroider in the same way.

*

Accessories to The Mother's Outfits:

Veil, Stole, Cape, Kittycap, Footwear, Handbag and Crown

The veil was a piece of fine cloth of either silk or chiffon or any other soft material with a dimension of about 50cms x 1m. As with all her other clothes, this would have beautiful embroidered designs or be decorated with some work in lace. Whenever she came out of her room her head would be covered with a veil, the long ends of which were fixed behind the head.

The stole was used by the Mother when she lived on the second floor of the main Ashram building from March 1962, and when she never came down to the rooms on the first floor. She stopped wearing the coat and used a stole over her gown. This was again a piece of fine silk, georgette or chiffon. The pieces were about 2m long with a regular width of the cloth. These were beautifully embroidered or hand-painted. She draped the stole over her shoulders, the long ends hanging in front.

Before we take up the topic of the cape, we mention another item. From the end of November there would be heavy rain and occasional cyclones. The weather would be chilly. When the monsoon rains were over, the climate would turn quite cold.

Here is a note of the Mother:

Vasudha,

Would you bring me a waistcoat to the playground at about 6 o'clock in the evening? It is really too hot to put it on before I leave the house and without it at sunset I would feel cold. I am asking you to bring it instead of taking it myself in the car, because I need you to pin the veil (the chunni) properly on it.
I hope it will not inconvenience you.

With all my affection and blessings.

January 10, 1949

(Letters to my little smile, p. 119)

During one of the cold seasons, it suddenly occurred to Priti Das Gupta to get a cape for the Mother from Calcutta. On her request, her uncle brought one for the Mother. Both of them offered it to her and needless to say they were delighted when she accepted it.

The Mother started wearing it in the Playground. Gauri attended to her needs in the Playground. She would put the cape on her inside her room in the Playground. Only then did the Mother come out and stand in front of the map of India, and then the March Past in the Playground would begin.

Mother never used the cape inside her room in the Ashram main building.

However, from 1961 onwards she came to the balcony of the second floor to give her darshan on the special days to the people gathered on the street below. She used a cape then.

The kittycap was used by her in the evenings with salwar-kameez. We are told that she had seen a picture of a lady wearing it. She liked it and asked Mona Pinto to stitch one for her. The name 'kittycap' was also given by her. A loose netted cap with two bands at the front: the back is twisted and tucked in so that it fits tightly on the head; the bands are then wrapped around it to keep it in place. Her kittycaps were made of silk nettings.

An important accessory to the Mother's main outfits of sarees, gowns etc. were her footwear. This work was done by many.

In the early years, we remember seeing Gauri doing beautiful embroidery on the two narrow straps of the Mother's slippers while she was waiting for the Mother to come down to the Meditation Hall to give her blessings to the children who had gathered there after their morning school session was over. What a beautiful work it was! Lakshmi-ben, daughter of Khodabhai Patel, had settled in the Ashram with the other members of her family, in the late nineteen forties. She was the first person to start making footwear for the Mother. She shared with us the wonderful reminiscences of her work with the Mother. We consider ourselves very fortunate to have this precious record with us and to be able to reproduce it for our readers. Here is the report:

Mother used to wear matching chappals, a special type of chappals, matching with her dresses. Her chappals used to be made in Bombay and sent here, from J.J. (the famous footwear makers). My father used to offer sarees to the Mother at the time of Darshan or Pooja. At that time, Modern Silk House was the biggest shop here. And the owner was a devotee and also a friend of my brother. Whenever new bundles of sarees arrived, he would let us know. Once, my father decided to take the whole bundle for the Mother to choose from. The Mother chose sarees of different colours and then said to my father that she would also like to have matching sandals along with those sarees. My father remembered that Manibhai (Chandrakant's father) had brought a pair of chappals for the Mother from Bombay. The Mother had liked them also. They were very light, made of cork, but nails had been used in making them. The Mother asked my father to get five or six pairs of chappals of different colours. All the six boxes came. My father used to offer things to the Mother through me. Then I thought that the Mother lives here in Pondicherry and her cobbler lives in Bombay! This is quite funny, why should it be so? If the cobbler can make her chappals, then why can't I? I was rather young at that time. But very innocently this idea crossed my mind. It was a very strong thought even though I had never even seen the actual needle with which cobblers work! I asked my father whether out of these six pairs of the Mother's slippers, I could keep one single pair with me so as to try to make the Mother's chappals properly. My father was quite wonderstruck at this strange request of mine. But he told me to go and ask the Mother instead of answering me anything in favour or against.

In the morning when I took all the boxes of her slippers, I kept one box with me. Mother was observing everything. Then I said: "Mother, I want to ask you something. It is a request, Mother, I want to try to make your slippers." She asked: "Can you make them? How will you make them?" I said: "Mother, first I will open them up and see what are the materials used in them." The Mother smiled and said: "Do not spoil them." Then she said: "Don't put any nails in them, just stitch them." I didn't know anything till then. I came back home and opened up the slippers. I didn't sleep the whole night. I was so excited that the Mother had given me her chappals to learn to do it. Somehow or the other, I got the shape right, and with the chappals, went to Govindaraju (the person who was in charge of the Ashram cobblers' department) to learn the names of different parts, materials used etc. I wrote down everything in detail. I brought suede and leather and then made the slippers. The slippers that came from Bombay had 30 nails in them. I took out all the nails and put them in a box. When the chappals were ready, I thought I would give them to her on my birthday. The Mother was so happy to see that, my God! . . . And then I showed her all the nails that I had taken out. What I had done was that after taking out all the nails, I had the chappals stitched back. As my needles were small and I didn't know the art, I called Govindaraju to stitch them. I told him to come properly dressed, after a fresh bath. My father told him to spend whatever was necessary for making the Mother's chappals. He brought a new big needle and soon the work was finished. The Mother was really very, very pleased because she saw that it could be done without the nails. Then she told me to take all the other five pairs of slippers and redo them like the first pair. But she gave them to me one by one. This is how I started making the Mother's chappals.

I used to ask Vasudha-ben what dresses the Mother was going to have and accordingly I tried to prepare the slippers. All the slippers that Mother used in the Playground were made by me. Then one day she told me to change all the old ones from inside also. She told me to use new cloth. Again, one by one, I changed the material in all the chappals and remade them. . . . Later she used to wear slippers with soles made of warm cloth only as house chappals.

All this happened in the late nineteen forties. When Lakshmi-ben left Pondicherry, others in the department took up the work and Mother's slippers continued to be made here.

In the nineteen fifties, Sunanda Poddar was one of the lucky few who did this work. She gives us an interesting account of her work and experience:

Earlier, when the Mother had settled down in the Ashram, she wore slippers as her footwear.

As time passed the need for new footwear was felt; someone must have tried making them in the Ashram. Even the design of the two straps of the original was followed. That is why all the Mother's slippers that are still in the Ashram, either with sadhaks or lovingly kept in good condition in her room, are of the same style.

As the Mother's dresses were made in the Ashram so were her footwear, mostly matching the saris or gowns or kameezes.

Many Ashram ladies and some men too prepared these with lots of love. The adoration and skill and perfection which went in this work offered to her is simply magnificent.

Each design on the two straps was drawn by the artists. Then the ladies sat and poured their skill and love and embroidered the design in gold, silver and multi-coloured threads.

Sometimes they worked overnight to complete the slippers to reach the Mother for Darshan or birthdays.

Making the base of the slippers was a tough job. A leather shape matching the size of her feet with the two straps were made. Then, first of all, everything was covered with strong cotton cloth. Next came the interesting part of stitching the silk covering on the inside sole. The decorated straps were attached next — very neatly. Lastly the sole below was covered with dark felt.

There are many interesting stories and experiences connected with the Mother's feet and footwear.

Here is just one of them.

A girl who had newly arrived had an open-eye vision on the beach at the Ashram tennis ground. She was sitting and watching the sea waves breaking on the shore. She suddenly saw the impression of the Mother's feet on the wet sand in front of her. She rushed to the spot and tried to hold back the waves before they washed away the prints of the Mother's feet.

That is where the vision ended.

Some seven or eight months passed. This girl went to the Mother for her birthday blessing. Those were the days when the Mother used to select and give special gifts for the birthdays. Mostly they were books. This girl was also expecting the same. But the Mother is the Mother. The packet given to this very lucky girl contained a pair of Mother's gold brocade slippers!

You can guess the joy this gift must have given her.

In 1948 the Mother started to play tennis. She wore the Japanese 'tabi' which covers the foot upto the ankle. Priti Das Gupta writes:

When the Mother played tennis, she would always wear a pair of 'tabi', a special Japanese footwear which was neither shoe nor sock but it was most comfortable. The pairs of 'tabi' that the Mother had brought from Japan were all more or less worn out. One day the Mother was talking to Vasudha about 'tabi' at the tennis-court. They were discussing how to procure these 'tabi'. As I was standing beside them, I overheard everything. And as luck would have it, just a few days later my youngest uncle arrived here. He was going to Japan and had come to the Mother to ask for her permission. I was delighted beyond words.

"You have to get some 'tabi' for Mother from Japan," I told my uncle.

"Get me the measurement of the Mother's feet. Only then will the 'tabi' fit her," my uncle replied.

With a sheet of paper and pencil in my hand I entered her room in the Playground. She had come back after playing tennis and was resting on her sofa.

"Could you please place your feet on this paper? I will make a tracing. My youngest uncle (Himanshu), is going to Japan. He will get some 'tabi' for you and needs your size," I told her.

The Mother agreed at once.

I bent down to trace out the Mother's feet. The more I looked at her feet, the more I was filled with wonder. My hand would just not move. I had never had such an opportunity to look at her feet for so long. . . .

I do not remember how long I must have sat there staring at the Mother's feet. I suddenly came back to my senses when the Mother gently touched my head. I quickly traced out her Feet with the pencil.

(Moments Eternal, pp. 3-4)

The Mother wore the 'tabi' and used platform slippers made of cork. This was the type of footwear she used in the Playground.

This is the report we get again from Lakshmi-ben's reminiscences regarding her experience of making the first of such slippers for the Mother:

Sometime later, one day the Mother told me, "I want slippers made — ½" here, here 1" and here." That meant 2½" (from top of the heel in a slipper) platform model. Inside, I put cork and it was very light. With a blade I used to cut the cork. There was no machine in those days. I used to cut everything by hand only. At some places I stitched and at other places I pasted it. I had to make the suede very thin. I used to place it on the floor and then cut it with a cutter that Govindaraju had got from Madras for this work. I learnt how to use it. Suede was like leather and I had to slice it as thin as cloth so that I could give it the right shape. I still remember the design and also how it was cut. I had the measurement of the Mother's chappal with me. She put her feet and drew it. That was the exact measurement.

Later on, Udar got these made by the cobblers who worked in the basement of the 'Golconde' building. Gautam Chawla, then a young boy, learnt to make this from the cobblers and later prepared these slippers for the Mother.

Mother went to play tennis at about 4 p.m. After the game she would come to the Playground and then would go back to the Ashram building. When she came out for the evening she carried a large, white handbag.

Another accessory for the Mother's outfits prepared here was known as the 'crown'. This was made of a broad band of cloth, the material matching the Mother's saree. The crowns were embroidered with threads in gold or silver and set with some precious stones and beautiful designs were made. This band, or the crown, the Mother fixed around her forehead to hold the pallu of the saree which covered her head. In the early thirties Lalita used to prepare these crowns for the Mother. But later others also prepared this item for the Mother.

Here is an interesting account of this work from a recorded report by Lakshmi-ben remembering her work with the Mother in 1949. Lakshmi-ben says:

Once Ma brought to me her pearl necklace. Pearl signifies occultism. She held my hand and said: "I have something very, very old and it is broken and you have to remake it. Can you make it?" "Yes, I can make it." I would always say, "Mother, I shall try it." By remaking what she meant was that I should de-thread it and redo it. In my life I had not even seen pearls ever till then.

She took me by the hand into the room and then opened a drawer, brought out a tiny box and then said: "See, this is the thing, you have to make it again exactly like this." I said, "Mother, I will try." Then she said: "You have to come here and do it," meaning that I could not take it home to do it.

Till then I had never yet gone to her room upstairs. She was waiting for me at the entrance. She took me by the hand and made me sit down at a place saying: "Here there is enough light. So you sit here." Do you remember where Dyuman-bhai had kept the Mother's asana (seat) upstairs in her room? It was exactly there I was made to sit to work. I sat and then she herself went to bring the table and I always used to keep all things along with apron and napkin with me only. Then she said: "Very good, you must use an apron. I will give you a small velvet tray so that the pearl beads don't roll away." They were very, very tiny pearls.

I was in my twenties. It was November 1950. She was very kind to me.

She had given me a box and a velvet tray. A special thread was brought by my father and a special needle also. I do not even remember now how I repaired that necklace. I crossed the two threads and fixed four pearls on all sides and I criss-crossed the thread and made the necklace. After doing a part of it there was some meenakari work to be inserted. Then, again the other pearls were continued. It was a thick necklace with an ornate design. In between four squares there was one pink-coloured pearl in the middle, with four pearls around it. It was given to the Mother by her great friend in Japan, Mrs. Kobayashi. She told me: "Therefore I love this necklace so much. On this Darshan I want to wear it on the crown."

I used to go to the Mother at 2 p.m. in the afternoon for doing her necklace. She used to say: "Take a little rest and come." She used to be so careful about every small detail concerning us, you cannot imagine. I used to keep all my things with her and then return home. The next day when I would go, she herself would bring all the things for me — no one else would come. She would come with the table, tray and everything. There were other people there. But she would not tell anyone to bring my things. Then suppose after ½ hour or so, if it became a little cloudy, she would take me by my hand again to the window near the balcony and make me sit there near more light. At 4 p.m. she would take the box etc. again and keep those back in her cupboard. I would do my pranam and then taking flowers or fruits, I used to return home. . . .

First, I made only half of it for two days. It was a difficult work. The Mother was pleased because I used to keep everything ready. The Mother used to always say that everything should be perfect. It was the particular attitude that mattered most. She used to say, "You work slowly but perfectly." If the attitude is right, then all the things come around automatically. I am personally a very good organiser. I keep everything in great detail — all ready when needed.

Every day I would work only for two hours. And it took me 10 days to do the necklace. She would not allow me to work more than two hours as she used to say that it is hard on the eyes. Sometimes she would say: "Lakshmi, my child come and sit here." She herself was so busy doing so many works but she constantly kept an eye on my work and needs — if the light was correct or if I was hungry or tired. Her loving care was incredible. She used to give me so much love and tender care that I used to get totally overwhelmed. Sometimes she would come suddenly, just like that, with a typical smile on her face and with her hand hidden at the back. She would give me some biscuit or chocolate.

She told me: "I shall put this necklace on my crown on the Darshan day — 24th November." On the 23rd when I went upstairs, she told me twice, "I shall wear the necklace." She didn't wear it around the neck. I had hopes to see that worn by her on the 24th as I had remade it. She would not wear bangles or necklaces. She used to wear finger rings and also anklets.

You know, in the first week of December Sri Aurobindo passed away. About a week before that I had a dream that I was sitting just like this in my garden room, in the open and something dropped from the sky on my lap and I saw that it was the same necklace. I picked it up as it was the Mother's mala from the crown. . . . In November Sri Aurobindo was not well and the Mother had almost retired to look after him. She was very busy. The Mother stopped wearing all these things after Sri Aurobindo passed away.

Years later, in 1957, the Mother started giving her sarees etc. to the Ashram inmates. Lakshmi-ben says:

When I went to the Mother, she said: "I am going to give you something special." I had forgotten all about it and she gave me that same mala I had redone for her. Then I realised that when it fell from the sky on my lap — may be that was the time when she had decided that for me.

This report by Lakshmi-ben makes us aware of all the work that was done for preparing the precious necklace again for the Mother's use. It reveals to us also the wonderful ways of the Mother's work.

We shall now digress a little. This topic on pearls brings back to our memory Mme. Théon's words to the Mother. Who was Madame Théon? In the first decade of the last century, the Mother went to Tlemcen, a little town in Algeria as a guest of Monsieur Théon and Madame Théon. Both were accomplished occultists and the Mother went there to practise occultism with them.

"I shall tell you about Madame Théon." Mother addressed her class of very young children.

"Madame Théon was born in the Isle of Wight," began Mother. "She lived in Tlemcen with her husband who was a great occultist. Madame Théon herself was an occultist with great powers, she was a remarkable clairvoyant and had mediumistic faculties. Her powers were of an exceptional order. She had received an extremely thorough and rigorous training, and could exteriorise, that is to say, from her material body she could go out in a subtle body, in full consciousness and do this twelve times in a row, up to the extreme limit of the world of forms. . . ."

(Sujata Nahar, Mother's Chronicles, Book Three, p. 118)

Once, when talking about the significance of numbers, the Mother said:

This deep meaning of numbers, . . . I got it in Tlemcen, in the Overmind. . . . It was above, just above the realm of the gods. It was there that the numbers took on a living meaning for me; not a mental game — a living meaning. . . .

That is where Madame Théon recognised me, because of the twelve pearls in a formation over my head. She told me, "You are That, because you have this. Only That can have this!"

(Ibid., p. 152)

This is a remarkable story.

Washing Sri Aurobindo’s and The Mother’s Linen

Washing was part of taking care of the linen from the Mother's room as well as that of Sri Aurobindo's. This was done by a few ladies in Quadroze, a house situated on the western side of the main Ashram building, where there were water connections and cisterns specially prepared for that purpose. Linen from the Mother's room was washed in the morning hours and evening hours were for linen from Sri Aurobindo's room.

Washing of Garments from the Mother's Room

Washing of the Mother's garments was one more work done by the ladies who stitched her clothes.

Datta took care of all the personal clothes of the Mother. She collected them from the Mother's bathroom on the first floor of the main building of the Ashram; daily, some of her clothes would be cleaned and returned to her. Vasudha as a young girl was sent by the Mother to Datta to be trained for the Mother's work. Apart from stitching etc. she washed the Mother's clothes and learnt to iron them.

Here are a few lines from Lalita, who joined the Ashram in 1927. She was one of those who used to embroider Mother's clothes. Once a gray georgette saree was embroidered by Lalita and offered to the Mother on a Darshan day.

Following is the account of the washing of her special saree in the early years:

Now the question arose as to how to wash this saree without spoiling the embroidery. The Mother always had her sarees washed after wearing them only once. In Bombay we had big shops where such articles were 'dry-cleaned' but here we could not do as those shops did, and the Mother did not approve of such a process either. She asked me if I knew of a way to wash this sort of saree without allowing it to shrink or get spoiled in any way. I said that I had never done it, but I would like to try. As I have said before, I knew that when she gave a particular work to us, she also gave us at the same time the knowledge and capacity to do it. She provided us with a very large oval tub and a large long table, as well as plenty of old cotton sarees as asked by me. These were placed outside Datta's room on the first floor of the house. I set to work by dissolving some Lux soap flakes in the tub. I had many helpers (Vasudha, Tara, Meenakshi, Tripura, Padmasini and Lila) and we were all learning with the Mother's inner help. We passed the whole saree through this soap-water without crumpling it. We changed the water several times and repeated the process. Then we spread it lengthwise on the table and mopped thoroughly before hanging it in a particular way. While it was still damp, we pulled it gently breadth-wise as well as length-wise to bring it as near as possible to its original size. After this we ironed it on the reverse side keeping up the gentle pulling. Many other sarees did not need this pulling because they were not made of georgette and so they did not shrink when washed.

(Mother India, 1979, p. 410)

In 1946 the Mother sent three young helpers: Minoo, Jaya and Bela to Vasudha. Already, Anusuya and Ichchha were working with Vasudha. They took care of the Mother's clothes, i.e. stitching and embroidering them. They washed and ironed them as well. Till 1946, Mother's clothes were washed in two places. In Swarna's house there were special built-in tanks where she washed Mother's gowns and inner garments as ensembles (body petticoat type dress). She also had an arrangement for ironing these. Sarees and blouses were washed by Vasudha in Quadroze.

Bela, one of the workers of that time narrates:

All washing of clothes was done on the ground floor of the house. There was a long cistern with the water tap on one side. Later this cistern was partitioned into three compartments and all were interconnected. The cisterns were constructed at different heights. This enabled the water to flow freely from the first highest one to the others at lower levels. This arrangement made the washing easier.

The Mother's clothes were washed here during the morning hours. At first, before commencing washing, a mop cloth was spread on the long table in the hall on the first floor. This mop cloth resembled a thin long soft mattress. It was made of old clothes arranged as padding on which a cover was stitched by the ladies of the department.

Smaller garments such as blouses, gowns, coats, ensembles, kameezes and salwars were washed in a certain way whereas the sarees had to be handled differently. Previously small garments which were stitched by Swarna-di's group were washed in her place.

For smaller garments there would be five to six rows of buckets of water. In the first one we mixed Lux soap powder. We would then take a dress, check each part of it at a time, dip it in the solution where needed and gently rub it to remove any kind of stain on it. This done, we would pick up the whole dress, soak it in the soap water for just a few minutes. The next stage was to remove it and dip it in for a few minutes in each bucket of water one after another till the dress was absolutely washed and cleaned properly. We would then squeeze it very gently to take out some of the water. It would then be placed in a basin and taken upstairs. There they would be spread on the long table over the mop cloth and a towel was placed over the pieces so that these were made somewhat dry. Then each one would be put on a hanger and hung on the clothes-line.

The process was different for sarees. No soap was used. They were washed in plain water. The sarees were never folded. After unfolding the saree for cleaning, it would be gathered carefully, then dipped in the three chambers of the cistern one after the other. Washing over, five persons held the open saree by the border. They moved up the stairs as fast as possible and reached the hall upstairs. Some kept holding up the saree. Two of them would take position on either side at the end of the table where the mop cloth was already placed. Now one part of one end of the saree would be placed on that end of the table. These two persons placed a towel on the wet saree and kept on gently pressing it. As that particular portion dried up, this end would be rolled up carefully, and pulled upwards so that the next portion of the saree could be kept on the table. The others would continue holding the border of the saree till the whole process of drying was over. Now, the somewhat dry saree would be hung lengthways on the clothes-line. Small cloth pieces would be put along the border of the saree, for the clips. These clips never came in direct contact with the saree.

All the clothes, when dry, would be ironed there. They would then be folded, packed neatly, and the packet was ready to be taken to the Mother.

Washing of Linen from Sri Aurobindo's Room

Clothes used personally by Sri Aurobindo or in his service were taken care of by different persons. The ladies of the Embroidery Department also took care of the linen from Sri Aurobindo's room. They repaired the torn parts when needed. Once Datta gave Swarna one of Sri Aurobindo's dhotis which was damaged for about a yard length, but Sri Aurobindo did not want to reject it. Swarna first washed the torn dhoti carefully. Datta wanted Swarna to pull threads out of some old cloth and use that for darning. It would then be soft and not hurt Sri Aurobindo. That was done and when completed, one could not find where the damaged portion was. So fine were her stitches. Many of his bedsheets and pillowcovers were also darned. Nirmala did this job. These were darned skilfully and a little embroidery done over them so that they looked like beautiful embroidered pieces.

His clothes were washed by Champaklal, Moti-ben, Anjali, Bibha and later for a few days by Nalina.

In the early days till his stay in Baroda, Sri Aurobindo used to wear western clothes. When in Bengal he put on a dhoti, a punjabi with a chaddar around his shoulders. In a few pictures taken in Pondicherry before 1950, he is either wearing a dhoti, one side of which is wrapped over his upper body, or he is wearing a dhoti with a chaddar.

Champaklal washing His Clothes

We find the earliest record of washing of Sri Aurobindo's clothes in the book Champaklal Speaks (p. 48). He says:

One day I said: "Mother, I would like to wash my father's dhoti." She smiled and said that she would ask Sri Aurobindo. Next day when I went to Sri Aurobindo he looked at me and said: "You want to wash my dhoti?"

Champaklal: "Yes."

Sri Aurobindo: "Are you ready?"

I looked at him in surprise and wondered why he asked that.

Sri Aurobindo: "You know, people will mock at you, laugh at you, joke about you. Are you ready for all that?" When he saw that I was eager to do this work in spite of such possibilities, he looked at me affectionately and smiled. He said so because the Ashram atmosphere was like that at that time. But very soon Mother changed all that entirely.

Champaklal settled in the Ashram in 1923. This incident took place during the early days of his stay.

Moti-ben takes over the Washing

Champaklal's aunt Moti-ben came here in 1926 and she took over the washing of Sri Aurobindo's clothes. She recounts:

I had the privilege of washing Sri Aurobindo's clothes twice a day and in this way I got his darshan also twice a day. I went to Sri Aurobindo's and the Mother's bathroom in the morning to collect the clothes and in the evening took back the cleaned clothes; went to Sri Aurobindo's room in the evening to keep his dhoti there. Initially I used to place it outside the room. Later on, the Mother permitted me to place it inside. Those days Sri Aurobindo kept walking up and down in his room. As soon as I opened the door he would switch on the light and I would place his dhoti inside. . . . After his accident (in November 1938) I had to wash heaps of clothes every day.

(Mother India, February 1995, pp. 120-21)

At Moti-ben's residence on the first floor of the present Ashram Post Office building, all arrangements were made for the washing of clothes. She used to wash and iron Sri Aurobindo's dhoti. After drying the dhoti, Moti-ben would finely crease it. This was done by a specially made small wooden implement. In Bengal, babus of that time, always had their dhotis similarly creased. This custom is followed even now by some people. Once she had used up all the monthly quota of soap allotted to her; she had then asked the Mother to sanction some more soap for her work. In answer to her request, she received a note from Sri Aurobindo. He wrote to her in Gujarati that clothes get spoilt very soon if too much soap is used!

Washing done by Anjali Bal and Bibha Biswas

Bibha came here in 1941 and the Mother allotted her work with Anjali who was already here some years earlier and was washing some of the linen from Sri Aurobindo's room. The linen was washed in Quadroze, but in the evening at 6 p.m.; whereas, as already noted, the Mother's clothes were washed in the same place but in the morning hours. Except the dhoti, other items as shawl, pillowcovers, towels, napkins etc. were washed by these two persons. Liquid soap was used for washing and there was a good supply of water too. As most of the clothes were being used for a long time they had to be washed carefully in a special way.

There were two very good quality silk chaddars with maroon borders. Though these were rather worn out, yet Sri Aurobindo preferred to use them. Many of his bedsheets and pillowcovers were damaged and were repaired by fine darning. Washing and cleaning of such items was difficult. So, when washing such old pieces, the item would first be spread out on a towel. Together with the towel it would be first dipped in water where an adequate amount of liquid soap would then be added. The towel and the piece would be taken out and dipped repeatedly in clean water till there was no trace of soap left. The whole process was done in such a way that the strain of the washing was borne by the towel. Thus, the actual piece was as far as possible saved from further wear and tear. Washing over, the clothes were taken to the first floor for drying. The towel with the item would be spread out and placed on the long table in the hall. A dry towel would be placed on the wet items and then by gentle pressure of the palm over the whole area, water would be absorbed till the item was dry, then taken to Nalina's residence in the Balicour House in Rue St Gilles, about two streets to the East of Quadroze. The clothes were ironed, a neat bundle made of them and Anjali handed over these to Champaklal in the main Ashram building.

We recount here a beautiful incident. One of the napkins, used for wiping a table in Sri Aurobindo's room, was so worn out that it was difficult even with all the precautions taken, to wash it any more. It could fall into pieces any day! Anjali reported about this napkin and received from Champaklal a new one. We have heard that Sri Aurobindo had remarked to Champaklal to this effect: Champaklal, how could you reject so easily something which has served you for so many years! Isn't this comment so similar to those of the Mother's? For both of them, every object was a living entity and was treated in that way.

*

So many people have worked in this department, preparing items for the Mother, taking care of all the garments and linen used by both the Mother and Sri Aurobindo. They have done it as their offering to Them. It is not possible to record all the work and the names of all of them. We however remember them — the known and the unknown — gratefully for their service rendered by them to the Mother and Sri Aurobindo.

The Mother's Embroidery Department is situated on the eastern side across the street of the main Ashram building. Originally there was quite a big open space with flowering shrubs and creepers. A big gate opens into the area. A few steps lead to the narrow landing on whose left is a spacious hall. This is the main work area where the ladies sit and work. This was the residence of Vasudha who stayed in a room to the west of the work area. Toward the south were a few rooms where Meenakshiamma and her daughter Anusuya stayed. At present most of the open space has been incorporated in the adjacent structure — the 'Studio' where all the paintings of the Ashram artists and some of the paintings done by the Mother are kept.

Work is going on in full swing in the Embroidery Department. The quality of the work is maintained as per the tradition. Each work is done for the Mother. As the variety and production increased, in 1960 the finished products were being taken by the Mother's devotees, their friends, and the sympathizers of the Ashram, as a token of the Mother's Grace, and the offerings were made to the Mother. Apart from embroidery, beautiful fabric paintings on sarees, T-shirts, kameezes etc. are now also being produced. Exhibitions are now held twice a year. These are open to all interested in artistic products.