The translation problem was salt-air realism versus devotional flatness: a fishing harbour is all boats and water, but shrine-cloth grammar wants a presiding centre, so the seafarers' goddess sits at the middle with a single patched-sail boat riding flat wavy sea-lines behind her, and the working day — net-mending, catch-sorting, basket-carrying — fills the panel ring. The boat and waves stay linear, so the livelihood reads as work under the Mother's protection rather than a seascape. The Vaghri (Devipujak) community of coastal Gujarat, long kept from temple sanctums, painted the Mother onto cloth to carry their shrine with them; the seafarers' goddess guards fisher and sailor on the waves while families mend nets and land the morning catch. Deep-maroon red, iron-rust black, undyed cream: nothing else, because the limited natural-dye triad is the entire discipline.