DESIGN BRIEF: Bharni deity panels fail when the couple floats on empty cream — Maithili wedding walls never left a bower unfilled. Vertical-bilateral symmetry solves the legibility problem: Krishna and Radha share a single kadamba trunk axis so the eye reads couple-then-tree-then-border as one stacked devotional column, not two portraits pasted side by side. I chose garden-union over rasa-circle or kohbar-chamber because the kadamba bower is the classical Darbhanga shorthand for prem-lila without importing a full narrative band — flute pose, lotus offering, inward parrots, and base fish already carry the symbolism buyers expect from Mithila Radha-Krishna panels. Krishna stays cobalt left, Radha turmeric right, matching Brahmin Bharni convention where indigo skin and kusum-yellow gopi fields are colour-coded before ornament detail. The braided fish border anchors fertility grammar from the outer frame inward — same matsya motif that appears in Kohbar wedding chambers, here cycling through the braid loops so the protective ring never breaks. Parrots face the couple, not the viewer, because messenger-bird inward gaze is how Mithila garden scenes signal reciprocated longing without speech bubbles or captions.