DESIGN BRIEF: The brief was a Kohbar-adjacent procession scene that could survive medium-density Bharni without collapsing into a single static elephant portrait. Wedding and festival narratives in Mithila traditionally move — palanquins, mounts, attendants — so asymmetric-narrative symmetry made sense: the four-sided border stays formally balanced like a chamber wall panel, while the story band reads left-to-right the way a guest's eye would follow a real baraat. We stacked two elephants instead of one hero figure because dense Bharni needs layered silhouettes to justify the fill percentage; the lead mount carries the royal couple in a tiered howdah, the follower holds the parasol, and the foot mahout sets the pace with a staff. Corner bird medallions solve the corner-empty problem classical painters face when a horizontal procession leaves triangular cream wedges — each medallion is a self-contained folk portrait that rhymes with the tree-perched birds above. The outer lotus border and bottom fish band tie the scene to fertility and water symbolism without turning the print into a Kohbar chamber copy — this is festival grammar, not bridal-room inventory.