Lippan kaam is built, not drawn. Rabari, Mutwa and Meghwal women roll clay and dung into ropes, coil them into peacocks, camels, trees and lattice on the curved inner walls of a bhunga, then finish ground and relief alike in white clay until the whole room reads as one chalk-matte skin.

Small round mirrors — abhla — go into the wet clay while it still takes an impression. A windowless room lit by one oil lamp comes alive from them. The design language that follows is the same: raised outlines, radiating centres, and bright discs placed on a rhythm rather than scattered.