The brief was to draw the wedding canopy as a floor diagram rather than a built structure: a pillar at each corner to stand for the mandap's four posts, and the rite's central vessel — a purna kalash with a coconut-flame and mango leaves — seated inside a lotus-rosette yantra square. We held the fill near half so the geru ground reads inside the square and between the pillars, the way a freshly drawn mandap floor looks before the couple sits. The kalash is the vessel of plenty and the centre of the rite; the conches at the edges are sounded, the swastikas bless the corners, and the lotuses open on each side. Drawn the old way, white biswar on geru, the canopy stays an auspicious two-tone diagram.