Umiya Mata is revered as the primordial energy, the creator of the universe and the protector of her devotees. She is regarded as the manifest form of Goddess Parvati. Umiya Mata is the ‘Kuldevi’ or ancestral tutelary goddess of Gujarat’s ‘Kadva Patidar’ community. Her temple in Panchot is a spiritual sanctuary attracting thousands of pilgrims. While urbanisation and administrative changes have integrated parts of Panchot into the Mehsana Municipal Corporation, the area has maintained its strong religious identity. Before events such as a birth, wedding, or new business, residents make it a priority to seek the goddess’s auspicious ‘darshan’.
The principal Umiya Mata temple of the Patidar community at Unjha dates back to 156 BC. In contrast, the temple at Panchot is a modern religious centre, built through the collective contributions of the local villagers. Panchot has a strong tradition of compassion for living beings. 
Around seventy to eighty years ago, Patidar farmers established the ‘Madh Ni Pati Kutaria Trust’. Income from lands held by this trust still supports the care of the village’s stray dogs. The same villagers who supported this cause laid the foundation stone of the Panchot temple for their patron goddess about seven or eight decades ago. As the village grew, the temple was renovated several times.
Umiya Mata holds the supreme position within the religious tenets of the Patidar community. ‘Uma’ signifies Goddess Parvati and according to Hindu beliefs, Goddesses Saraswati, Lakshmi and Kali are regarded as various incarnations of Umiya Mata herself. It is the cherished belief of the community that when Lord Shiva and Uma Devi arrived at the banks of the Saraswati River to slay the demons, 
Uma Devi fashioned fifty-two clay idols, into which Shiva breathed life. From these idols, the Kadva Patidar community was born. Devotees remain convinced that seeking blessings at this temple removes all impediments from life and bestows financial and mental stability upon the family.
Although temples in the ‘Nagar’ style are predominantly found across Northern and Western India, the temple at Panchot is not based strictly on ancient classical canons. It has been constructed using modern architectural techniques. One enters the expansive temple courtyard through an ornate gateway set in the surrounding ramparts. Seating arrangements are provided within this courtyard for pilgrims at various intervals. 
The temple stands majestically at the centre of the precinct. Pink ‘Aras’ (marble) stone has been used in its construction. One enters the ‘Mukhamandapa’ (entrance porch) by ascending fifteen steps to a high ‘Jagati’ or plinth. On either side of the stairway are sculptures of ‘Gajaraj’ (elephants). The architectural layout includes the entrance porch, three subsidiary pavilions, a ‘Sabhamandap’ (assembly hall), the ‘Antarala’ (vestibule) and the ‘Garbhagriha’ (sanctum sanctorum). The entrance pavilions and assembly hall are semi-open. The upper sections of the carved pillars in the assembly hall depict ‘Surasundaris’ (celestial maidens) in dance and musical poses. Within the ‘Antarala’, idols of Lord Ganesha and other deities reside in niches carved into the walls. The sanctum sanctorum’s doorframe features unique, intricate craftsmanship. Inside the sanctum, the pristine white marble idol of Umiya Mata, seated upon a bull, is enshrined on a high ‘Vajrapitha’ (pedestal). The Goddess, adorned in various garments and ornaments, wears a beautiful crown. In the exterior wall niches of the sanctum are idols of Varuna, Kubera and Yama. The sanctum is crowned by a primary ‘Urushringa’ style spire, surrounded on all sides by smaller replicas. 
The three entrance pavilions and the assembly hall feature relatively smaller, square spires that taper towards the top.
Numerous festivals and celebrations occur throughout the year and involve active community participation. The most significant is the Navratri festival, celebrated in the months of Chaitra and Ashvin, during which people perform ‘Garba’ around the image of the Goddess. On Durgashtami, a special ‘Havan’ (sacrificial fire ritual) is organised. In the month of Phalgun, ‘Holika Dahan’ is performed on Holi, followed by the festival of colours. During Diwali, the temple is decorated with lamps. On ‘Bestu Varas’, the first day of the New Year, merchants worship their account books and seek the Goddess’s blessings. As a community rooted in rural agriculture, members offer the first harvest each year to the Goddess as an expression of gratitude.
