DESIGN BRIEF: Kohbar panels live or die on whether the central union reads as ritual diagram or decorative reptile wallpaper. Twin-panel-mirror symmetry solves that — the left naga is the right naga reversed, so the eye tracks inward along identical S-curves until both tongues nearly touch the crown lotus bindu. That bindu sits where a sindoor dot would mark the bridal-chamber wall in Ranti village practice: the vertical flowering stalk and kalash pot below are Pushpavatika grammar — feminine lotus above, abundance vessel below — without importing a full narrative wedding scene that would crowd a print-scale border. I kept the serpent pair dominant rather than shrinking them for corner fill because Kohbar naga motifs guard marital harmony specifically; fish at the base corners face the kalash the way pond-life witnesses consummation in Kayastha puren compositions. Corner floral mandalas borrow wedding-wall medallion cells so the protective ring border does not float empty. Vermillion and mustard stay wedding-auspicious; green enters only on leaf accents so the palette reads Kohbar chamber red, not generic festival Bharni.