We briefed this as a procession-row because the grama jatara is a moving event and Cheriyal carries a festival best as one readable line travelling across the cloth. The deity's domed palanquin is the anchor, set right of centre and carried high; the bullock cart of women trails it at left, and the drummers and dancing line fill the foreground so the eye reads god, then cart, then the celebration around them. Keeping the deity small and serene inside the canopy while the dancers swing big is deliberate — that contrast of still centre and moving crowd is exactly how a village jatara feels. Medium fill leaves the vermilion ground open between the palanquin and the cart so neither swallows the other; flat colour and lamp-black outline carry the movement the Nakashi way, no shading.