The brief was to draw a working watermill as a ritual diagram, not a postcard: the gharat reduced to two-tone line so its parts read as Aipan motifs. The turning wheel becomes a radial lotus on the building's flank, the rushing water-channel becomes a braid of fingertip dot-rows pouring down from the flume, and the stone house flattens to a folk facade of brick courses under hill peaks and a sun-disc. Grain-sacks and mounds sit at the base, swastikas marking the auspicious corners, a lotus floating on the rippled tail-water — the everyday work of the mill set inside the rite's vocabulary. Medium-light fill keeps wheel, water and sacks legible with geru breathing through. White biswar on geru, nothing else.