DESIGN BRIEF: Lakshmi panels fail when the goddess floats without a throne grammar — she needs the lotus as seat, the elephants as flank witnesses, and a mandala ring that tells the eye this is Gaja Lakshmi, not a generic calendar deity. Radial-mandala symmetry solves the devotional read: concentric petal bands and leaf rings orbit a single vertical axis so the four-arm mudra set, crown, and lotus buds align at doorway distance without narrative clutter. Bharni carries the weight — Brahmana colour-fill tradition gives turmeric skin, vermillion lotus, and golden-yellow fish frieze as flat pigment masses bounded by the same double black stroke used on Kohbar wedding walls. I placed elephants with raised trunks at lotus flank height because Mithila Gaja Lakshmi grammar treats them as celestial attendants pouring grace, not parade animals. The rectangular fish border anchors the circle inside poster proportions: matsya swimming inward on all four sides carry fertility and abundance symbolism from Kohbar floor diagrams without importing full wedding-chamber narrative. Spandrel vine scrolls fill horror vacui between circle and rectangle the way Maithil women packed every wall pocket before paper export. What stays ritual-accurate: four-arm attribute set, lotus seat, Abhaya and Varada palms, elephant flank salutation. What we compressed: kalasha vessel and owl vahana — this is prosperity threshold panel, not full Diwali altar inventory.