DESIGN BRIEF: Godna Madhubani lives or dies on tattoo rhythm — if the spiral reads as a generic cartoon snake, the whole panel forgets its Dusadh arm-band ancestry. Radial-mandala symmetry solves that: the naga coils inward on a single axis so each scale segment mirrors the grammar of the last — stipple dots, cross-hatch bands, diagonal stripe fields — the way a leg tattoo repeats protective motifs around a limb. I kept the spiral tight rather than loose because Darbhanga Godna panels treat the coiled serpent as a sarpabandha threshold diagram: head at the crown, lotus at the base, nucleus flower at the bindu centre where the coil cannot tighten further. Corner birds and fish are not decorative afterthoughts — they are the four-direction guardians common in Mithila tattoo vocabulary, perched and swimming inward so the protective ring border does not float empty. The torana arch above the head borrows wedding-wall grammar without importing Kohbar narrative; it simply frames the serpent crown the way a doorway frames a guardian figure. Terracotta ochre stays minimal — two pigments plus cream — because authentic Godna on paper often ran lampblack and earth tone alone; every texture is built from dots and dashes, never gradient wash.