The brief here was breadth: draw the tiger long and low so it stretches almost wall to wall, head and jaws at the left, tail flicking up at the right, and let Vihat Mata sit eight-armed across its spine so the eye reads mount-then-Mother in one sweep. Two attendants stand close at left and right holding stem-lamps — a quiet way to mark that the shrine is lit and the Goddess is present. Vihat is one of the protective Mother-forms the Vaghri (Devipujak) community of Ahmedabad invoke, and her tiger is the surest sign of which Mata you face. I kept the narrative thin on purpose — three panels along the top, three along the bottom, of women, drummers, a stick-dance and two riders — so the broad central tiger never has to compete, and the leaf-vine border closes the field like the edge of a portable shrine. Three tones throughout: madder red, iron-black, cream.