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蟻妖精２

Arte IA «蟻妖精２» di 桂 su PixAI. Tag: Vano della porta. Creato con Tsubaki.3.

イギリスのコーンウォール地方に伝わる蟻妖精（ムリアン）です。民家を訪ねてお菓子をもらい喜んでいる場面です。

Contest Entry

The World of Little People#The World of Little People

#gilet #Bambino #cestino #Vano della porta

Pubblicato il Nov 8, 2026

桂

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children's anime illustration, 1 girl, 2 murian boys, two ant-fairy children, one human girl, cel shading, crisp two-to-three-step shadows with hard clean boundaries, flat unshaded color fields, tidy linework, warm soft fantasy mood, muted earthy palette, view from inside a house looking out through an open doorway, half-body framing, ant abdomen, glossy black oval abdomen, shiny solid black dot eyes, glossy black hair, rounded head silhouette, ahoge, mandible-flipped hair tufts, cloth work cap, undyed shirt, dark brown vest, gray-brown trousers, sturdy boots, small wicker basket, warm baked sweets, bending forward, gentle smile, holding basket to chest, arms up, basket held overhead, open mouth, one leg lifted, white stone wall, wooden floor, cobblestone path, old stone wall, flowers, white cottage exteriors, bright outdoor light, dim interior, wholesome The camera sits low inside a small stone cottage in Cornwall, close to the floorboards, and looks straight out through the front door that has been pulled wide open; the interior occupies the near edge of the frame in cool half-light while the yard beyond the threshold glows bright and warm. On the right-hand side of the frame stands the resident girl, twelve to fourteen years old, her simple 19th-century rural dress and plain apron in soft oatmeal and faded blue-gray, leaning down from the hips with her half-body cut off just above the knees so she reads as a supporting figure at the door's edge; one hand still rests on the door's edge, the other hangs loosely near her apron pocket after emptying the last sweet into the baskets, and her chin tips down toward the two little visitors with a warm closed-lip smile and softened lids, friendliness rather than surprise, her gaze dropping directly onto the pair below her. Below the center of the frame, knee-height to the girl and standing on the sunlit threshold, the two murians are tiny boy fairies of ten to twelve, slender childlike bodies topped with round, innocent faces; their eyes are simply tiny glossy black dots with no whites or irises, and all their feeling lives in their mouths, posture, and the lively strands of their shiny black hair. Each has two thin ahoge springing from the crown like antennae and a pair of flipped-up hair tufts like ant mandibles at the sides — hair alone suggesting the ant, never real antennae. Behind each waist pokes a tiny smooth glossy black oval abdomen, rounded and unsegmented, sitting like a little tail. Both wear muted worker-fairy clothes: off-white shirts, dark brown vests, brown-gray trousers, sturdy boots, all in blacks, dark browns, and undyed tones. Murian A stands at the left of the pair in a small flat cloth cap, hair tidier and ahoge calmer, a little slimmer, hugging his little wicker basket against his chest with both arms as though it were treasure, his mouth curved in a small, restrained, thoroughly happy smile, eyes fixed down on the golden-brown biscuits and small round baked treats piled in the weave. Murian B stands slightly forward and rounder on the right, bare-headed with every spike and strand of hair springing upward, both arms thrust overhead to hold his basket high, mouth open wide in a delighted shout, one foot lifted a few centimeters off the cobbles mid-hop; his gaze is thrown up toward the girl's face while Murian A's stays on his sweets. Beyond them the doorway opens onto a rustic Cornwall village: a cobblestone path with dirt at its edges, a low old stone wall, tufts of flowers and small plants, white-painted cottage walls, all under mild bright daylight. The light source is the open yard behind the murians, so they are rimmed from behind and their short shadows reach forward across the threshold toward the viewer, and where the sun crosses the doorframe it paints a crisp band of warmth across the floorboards that stops dead at the jamb's shadow while the interior beyond stays in dim, quiet shade; the little pile of sweets in each basket catches pale highlights on its upper crusts only. Palette is held to blacks, dark browns, gray-browns, undyed linen, warm golden-brown baked goods, and the soft greens and white of the village outside. Tender, wholesome, storybook-warm.

蟻妖精２

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