DESIGN BRIEF: Kohbar panels need a single fertility anchor that reads at arm's length on a mud wall — not a scattered still life. Central-medallion symmetry solves that: the mango tree sits on one vertical axis so fruit clusters, bird pairs, and kalash-lotus threshold stack the way a nuptial chamber diagram should — abundance above, guardians at the waist, ceremonial pot at the root. I chose mango over lotus-as-hero because Mithila wedding vocabulary treats the mango as kalpavriksha-adjacent abundance — fruitfulness you can count on the branch — while still leaving room for lotus at the base where feminine energy meets the ground. The paired birds face the trunk, not each other, because classical Kohbar bird grammar positions messengers toward the sacred centre rather than into a decorative mirror. Fish border runs continuous rather than corner-only because Kayastha and Brahmin Kohbar ghar walls wrap fertility symbols around the entire chamber perimeter — the frame is the blessing, not a mat around a picture. Vermillion and turmeric carry wedding-auspice weight; green stays on leaves and wing fields only so the palette does not drift into generic festival poster saturation.