DESIGN BRIEF: Modern Diwali gave us clay diyas wired for LED — Ram ki Paidi scale, banked rows of electric flame, no spilled oil — and the translation problem was how that glow reads in Mithila line without turning into a product render. Bharni solved the body: flat vermillion and festival orange fills inside double black contours, the same wedge grammar used on wedding elephants and Lakshmi panels. Radial-mandala symmetry was non-negotiable because a lamp is already a bindu — flame at centre, light radiating outward — so the LED bloom becomes concentric hatch rings and alternating red-orange flame petal bands rather than photographic lens flare. I kept the clay diya silhouette honest: bowl profile, petal-row rim, teardrop flame — then let the inner disk carry fine radiating black lines as folk shorthand for electric radiance. Corner birds and vine flowers hold the four quadrants the way classical panels anchor guardian figures; the fish frieze is deliberate abundance grammar, not border filler, because matsya pairs with lamp-light in Mithila festival walls. What we dropped: circuit traces, plastic bezels, Ayodhya headcount statistics. What had to survive at A2: each petal in the outer sunburst ring, individual fish scale dots, and the hatch density inside the glow disk.