DESIGN BRIEF: Kohbar wedding walls treat the Kalpavriksha as the vertical spine of the chamber — roots in earth, canopy in sky, birds as messengers between realms. This print borrows that column logic without importing bridal narrative: central-medallion symmetry solves the portrait-format problem by trapping the full roots-to-canopy axis inside a single circle so the eye reads trunk first, then outward to peacocks and parrots, then down to fish, without the tree floating in empty cream. I chose Bharni flat fill because Kalpavriksha panels on Brahmin festival walls were colour-flooded — vermillion flowers, turmeric accents, bilva-green leaves — not Kachni hatch fields. The peacock pair at the lower canopy is deliberate Kohbar grammar: royal bird and rain-bringer on the same branch tier where wedding walls place auspicious pairs. Five fish among white roots reference Matsya prosperity without repeating the horizontal fish-river mirror layout elsewhere in the catalog. Corner guardian fish and the lotus square-panel border are the four-side frame contract Mithila artists use when a central deity — here, the tree — must not touch the paper edge raw. Trunk chevron bands are the only fine-line texture; everything else earns its read through pigment fill.