The brief made the auspicious vessel the whole subject: a single large purna-kalash, full-bellied and overflowing with mango leaves, coconut and lotus, drawn vertical-bilateral so it reads as the calm threshold-emblem it is, with twin parrots perched above as the traditional sign of welcome and abundance. Tall lamps flank it and a bell-hung canopy crowns it, marking the spot as sacred ground even without a figure of the goddess. The Vaghri (Devipujak) community of Gujarat, long kept from temple sanctums, painted the Mother onto cloth to carry their shrine with them; the purna-kalash marks the threshold of her shrine, the vessel of plenty placed where she is invoked. Madder red, iron-rust black, undyed cream: nothing else, because the limited natural-dye triad is the entire discipline.