The brief was to paint the social heart of Durga Puja, the queue for darshan, rather than just the idol, and to do it in patta line without losing the festival's warmth. So the pandal sits as a flat white domed shrine at the upper right with the familiar Durga-on-lion tableau inside, and the real subject is the roped queue of devotees stacked in profile, offering plates in hand, an elder leading with folded hands. We let the small festival truths in as flat motifs — a child on shoulders with balloons, a woman selling flowers from a basket — and kept the deep red ground to give the scene the night-glow every pandal has after dark. We refused the photographic clutter of hoarding and lights; the queue and the shrine carry the story, the way a procession carries a classical scroll.