Brief started with a layout problem: Aripana floor art is drawn in situ with wet rice paste, so the composition has to read from above and from the doorway at once — radial symmetry carries that double viewpoint better than a narrative band. I chose the floor-lotus mandala form because the concentric petal rings mirror how aripana deniharis build outward from a sindur dot or eight-petaled core, layer by layer, each ring drying before the next. The paired Matsya fish along the lower arc borrow from Kohbar fertility grammar without turning this into a wedding chamber panel — they anchor the circle the way fish flank lotus ponds in courtyard thresholds. Border cells alternate fish and floral tree motifs so the frame behaves like the repeating square modules you see around large sarvatobhadra and astadala floor diagrams, keeping the centre lotus legible at A2 scale.