DESIGN BRIEF: Surya and Chandra belong together on Mithila walls the way bamboo and fish belong in Kohbar chambers — not as astronomy lesson, but as cosmic guarantors of marital balance. Twin-panel mirror symmetry solves the layout problem: each half carries equal visual weight while the subjects stay legibly distinct — sun full-face against moon in profile, peacock against fish, masculine radiance against feminine crescent calm. I chose Kachni rather than flat Bharni because the ray rings, scale fields, and vine fillers need parallel hatch texture to breathe; a solid turmeric disk would flatten the sun's layered mandala. The central lotus pillar is the hinge — it prevents the two panels from reading as unrelated posters taped side by side. Lotus at crown and base bookends the vertical axis the way threshold flowers bookend wedding-wall narratives in Ranti village panels. Corner registers borrow Kohbar grammar without importing bridal figuration: bird as messenger above water, fish as fertility below — the classic Mithila pairing Chandra Namaskar practitioners know from sun-moon salutation logic, here frozen in folk pigment instead of asana.