The brief was to seat Saraswati's two great attributes as a clean emblem rather than a full portrait: the veena upright at the centre, a swan facing it from each side, a lotus at the base, all under a single lotus arch. We held the fill near half so the geru ground reads between the swans and the instrument and inside the arch, the way an emblem looks drawn fresh on a swept floor. The swan (hans) is Saraswati's mount and the veena her instrument, so together they stand for the goddess of learning and music without needing her figure — a restraint that suits a study or a music corner. The mirror symmetry is the rite's calm, not a decorator's flourish. White biswar on geru, no third colour.