The brief was to grow the cloth out of a tree: let a spreading, symmetrical tree of life fill the upper field, branches dotted with small perched birds, so the Goddess sits not in a built shrine but in the living one. Beneath the canopy she rides her cockerel, weapons fanned, and a pair of deer stand facing her at her feet — the gentle creatures of the grove come to the Mother. A small peaked temple shrine sits directly below her, the built sanctuary held inside the natural one. The tree of life is an old, deep motif across Indian folk textiles, and in the Vaghri (Devipujak) shrine-cloth grammar it lets the Goddess preside over all created life at once — birds, deer, devotees, the shrine itself. Panels of attendants and worshippers ring the scene calmly, and a diamond-and-leaf border closes it. Madder red, iron-black, cream: the natural-dye triad and nothing more.