DESIGN BRIEF: Bharni Madhubani lives on flat colour courage — if the peacock tail reads as a generic clipart fan, the whole panel loses its Jitwarpur wedding-wall pedigree. Vertical-bilateral symmetry solves that: one standing mor on a single mirror axis so the fanned tail becomes a symmetrical halo rather than a lopsided decorative afterthought. I kept the garden deliberately minimal — marigold ground, green vine masses, no narrative procession — because the catalog brief asked for a royal bird in Mithila gardens without importing Kohbar wedding narrative or deity figures. The tail occupies the upper two-thirds on purpose: in village Bharni panels the mor announces rain and beauty from the crown of the composition, and concentric ocelli rows need uninterrupted yellow ground to read as feather arcs rather than muddy overlap. Corner fish curl upward rather than swim horizontal because bilateral peacock-and-fish triads are a Jitwarpur grammar — fish for fertility and luck, mor for grace — and the curve directs the eye back to the lotus anchor beneath the bird's feet. Lotus band borders on all four sides replace fish-scale inner lattice here; the outer scallop band on cream carries the fish-scale motif from the brief without repeating it inside where lotus rhythm frames the garden scene.