The brief was the purest of pichwai motifs: the kamal-talai with no figure at all, the lotus pond as its own subject, seen at night. We combed a deep maroon ground into ripple lines for still dark water, hung a single pale full moon between two folk clouds, and let open lotuses in cream, pink and rose rise across the whole field on green stems among their pads. Nothing competes — no Krishna, no cow in the water — because the lotus alone is meant here as the sign of divine presence. The night ground makes the pale blooms luminous, and the cow-and-lotus border keeps it unmistakably pichwai. It is the quietest, most meditative piece in the set, the temple pond held at rest.