Brief: take the most ordinary object on a Madhubani lane — the black-frame utility cycle — and make it pass as folk art without a caption. Bharni was the right container because the translation problem is colour-fill legibility, not line archaeology: you need bold flat fields for frame, basket, and seat while the cream ground still carries Kachni-style hatching between motifs. Vertical bilateral symmetry solves the layout tension — a side-profile bike naturally wants a horizontal axis, but Mithila wall panels often read portrait, so the sunflower wheel disks become the radial anchors that balance left and right while replacing mechanical spokes with a motif every Mithila viewer already reads as harvest and solar blessing. Fish at the base and lotus in the outer border are not decoration filler; they re-root a contemporary subject inside fertility and prosperity grammar so the fusion feels translated, not pasted.