The brief started with a layout problem: how do you hold a full banyan canopy in portrait without the trunk looking like a postage stamp? Kachni's parallel hatching gave me the answer — treat each descending aerial root as a vertical rhythm line that doubles as a bilateral divider, so the canopy reads wide while the composition stays locked to a single mirror axis. Darbhanga village banyans are literal meeting points; in Mithila wall grammar the tree often carries kalpavriksha and kohbar-adjacent symbolism without needing a wedding chamber narrative. I kept the fill at medium density — snake-scale ground, alternating leaf hatching, fish and lotus anchoring the base — so the cream paper never wins. Sun and moon corners bracket day-night balance; the birds and matsya below nod to fertility motifs that appear in classical panels without turning this into a full kohbar scene.