The brief was a single purna kalash held by one clean mandala ring, not buried under nested circles: the pot centred, its mango-leaf fan reaching toward the border, the rest left to the geru ground. We kept the fill near half so the terracotta reads as open earth around the medallion, the way a courtyard floor shows between the lines of a freshly drawn diagram. In Kumaon the purna kalash — the full vessel topped with mango leaves and a coconut — is the auspicious sign set at weddings, housewarmings, and Diwali, the welcome that a household is whole and abundant. The swastika on the belly and the lotus beneath are the everyday Aipan vocabulary for that blessing; the mango leaves are drawn as line, not coloured fills, holding to the white-on-geru discipline.