We briefed this as a classical Kalighat devotional, the goddess of learning who anchors the Bengali calendar each Saraswati Pujo. She sits inclined over a long-necked veena in a three-quarter turn, the instrument's rounded gourd drawn with the same boneless volume the patuas gave their figures, her white saree with an indigo border flowing down over a veil. We honoured her true attributes — the veena cradled across her body, the pearl ornaments, the swan vahana tucked at her feet — because a devotional figure has to be correct before it can be lovely. The palette stays to the patua's quiet economy: white and indigo for the saree, golden skin, brown for the veena and pearl-white for the ornaments and the swan, all over a calm cream ground. No throne, no library of books, no lotus thicket — just the goddess, her instrument and the swan, which is exactly how Kalighat liked its gods: legible and unhurried.