In Mata ni Pachedi the central figure of the goddess has a commanding presence. She is flanked on her sides by worshippers, musicians and animals. The many forms of the goddess – known through mythological and oral narratives, textual sources and popular local traditions – are found in this textile including Durga and Ambe. Also included are goddesses from the local folk culture of Gujarat, such as Vishat Mata, one of the most important goddesses for the Vaghris (it is believed that the community descended from her); Vahanvati Mata, who is worshipped by seafarers and traders; Momai Mata, more popularly known as Dashamaa, a goddess of the Kutch region and protector of health, livestock and harvest; Khodiyar Mata, who is known to be powerful enough to predict the nature of incoming monsoon; and Hadkai Mata, who protects her flock from rabies. The defining presence of the local goddesses in the textile not only records a religious tradition but also offers a glimpse into the social and cultural life of the Vaghris, the precarity of a nomadic and agricultural community, dependence on yearly monsoon rains and the naval trade along the coastline of Gujarat.

In Mata ni Pachedi the goddesses are depicted according to their iconographic aspects. In some variations, the Hindu god Ganesh appears in either the upper portions of the cloth or to the left of the goddess. Narratives from Mahabharata and Ramayana also find a portrayal where the artists improvise the scenes to suit the form of textile painting. For instance, it was difficult to render the golden deer (from the scene of Sita’s abduction in Ramayana) in colour so the artists depicted it as two-headed. Similarly, the game of dice from Mahabharata was substituted by a game of cards which is easier to portray.

The need to improvise and adapt the form has led to significant changes in the art; the grid-like structure for the narrative is no longer a requirement and traditional depictions of rows of worshippers carrying garlands and flags have been supplemented by angels carrying them. In some cases, the temples appear to be domed like mosques. The art has also incorporated a vast array of artificial colours including sap green, yellow ochre and indigo.

The popularity of Mata ni Pachedi is no longer restricted to its ritual aspect and its significance during Navratri. Artists now produce decorative consumer goods such as bed sheets, pillowcases, wall hangings and garments in the textile’s traditional style.