The idea was to honour the fibre: a Mata ni Pachedi begins as spun cotton, so the spinner is enthroned beneath a cusped arch in the central place a goddess would hold, sitting large at her great charkha with the drawn thread carried out as a single clean iron-black line. The white cotton balls in the baskets are left as reserved cream — the bare cloth standing for the raw fibre — so even the cotton stays within the limited palette. The Vaghri (Devipujak) community of Ahmedabad and the Sabarmati banks, long kept from temple sanctums, painted the Mother onto cloth to carry their shrine with them; the charkha spins the cotton that becomes the shrine-cloth itself. Alizarin red, iron-rust black, undyed cream: nothing else, because the limited natural-dye triad is the entire discipline.