The brief was to catch a Diwali night without colour or glow: a boy and a girl in the courtyard, their phuljhadi bursting in radiating dotted lines, a lamplit house behind, and the whole moment seated inside a lotus arch. We held the fill near half so the geru floor still breathes around the children and between the bursts, and let the sparklers read as line-work fizz rather than light. The diya, the lotus, the potted tulsi, and the corner swastikas are the auspicious furniture of a Kumaoni aangan at Diwali, so the scene stays a festival diagram rather than a snapshot. Drawn the old way, white biswar on geru, it keeps a child's high-spark night inside the calm two-tone grammar.