DESIGN BRIEF: Parrot garden panels only work in Bharni if the twin halves share identical fill rhythm — if one bird gets more hatch than the other, the mirror reads as accident rather than Mithila grammar. Twin-panel-mirror symmetry solves the layout problem: left and right parrots perch at equal height on matching mango branches so the eye tracks companionship without chasing diagonal narrative. I stacked a peacock-arch crown register above the parrots because Jitwarpur Bharni homestead walls often pair messenger birds below royal rain-bringers — sugga for love and speech, mor for beauty and monsoon — without forcing both into one crowded branch. The central floral stalk between arches is the vertical spine that keeps the upper register from feeling like two unrelated niches pasted together. Mangoes hang in turmeric yellow with vermillion hatch because Mithila garden vocabulary treats the fruit as countable abundance — fruitfulness you can see on the branch — while the bottom lotus-water band anchors feminine pond grammar the way Kohbar thresholds anchor lotus at ground line. Bharni flat fills carry the colour; Kachni hatch carries the texture inside wings, mango skin, and fish-scale border — the Brahmin compromise that keeps the panel festival-bright without losing line discipline. Outer lotus-bud border repeats at even intervals so the protective frame echoes the bottom blooms without importing wedding-chamber fish narrative.