The brief was to paint an Odia courtyard wedding by leaning into the iconography it already shares with Pattachitra rather than fighting it. A couple seated before the sacred fire is, compositionally, a divine pair — so we centred the bride and groom at a square fire-altar with a flat tongued homa flame, set the priest pouring offerings on one side and a stacked group of sakhis on the other, and crowned them with a flower arch that doubles as the toran of ritual scenes. The tulasi plant on its raised pillar-pot stands in for the household deity that presides over the rite. We refused the modern wedding clutter of garlands-on-everything; the deep red ground and the clean central pair carry the solemnity, so it reads as ceremony, not snapshot.