We briefed this as a Khovar wedding-chamber piece built around a single human figure, which is the harder thing to do in this mode. Khovar is the marriage art of Hazaribagh, combed by the household women onto the bridal room before the wedding, so we put the bride at the literal centre of her own decorated wall and let the genuine chamber motifs — paired peacocks, the rising lotus, the corner deer — ring her in an oval the way they ring a real nuptial niche. We chose central-medallion symmetry and a medium fill so she stays large and legible rather than dissolving into comb-noise, and kept the ground a deep manganese black so every kaolin groove on her veil and the peacock tails reads clean. The lamp beside her is the one detail that fixes the hour: dusk, the room finished, the household waiting.