Splitting a footboard into two panels around a carved centre is a device borrowed from cabinet doors, and it does something a single wide panel cannot. A footboard is the widest uninterrupted surface on a bed, and left whole it reads as a slab. Break it in two, put a vertical carved drop between the halves, and the width becomes a rhythm - panel, centre, panel - which the eye takes in as composition rather than as bulk.
The centre drop has to earn its place, so it is carved deeper than anything around it: a cartouche with a flower cluster falling below the rail, standing clear of the surface so it throws a shadow across both panels.
Restraint in colour is the other decision worth naming. Grey blue against champagne gold is a low-contrast pairing, and low contrast lets the carved profile become the thing you notice, rather than the colour. Our master Indian artisans build the whole design around that: the frame is kept slim and continuous, so what you read is the line of the bed and not a fight between two loud surfaces.