The brief was to hold Chamunda's fierceness inside the calm three-tone discipline, so her power is signalled by the long garland of skulls and the small prone buffalo-demon beneath her lion, not by clutter or extra colour. Cleverly, the skulls are left as reserved cream — the bare cloth read as bone — so even her most terrifying attribute stays within the limited palette. A flame-rayed halo crowns her, and the lamp-flame border picks up that same flame rhythm. The Vaghri (Devipujak) community of Ahmedabad and the Chotila hill country, long kept from temple sanctums, painted the Mother onto cloth to carry their shrine with them. Rust-red, iron-rust black, undyed cream: nothing else, because the limited natural-dye triad is the entire discipline.