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新山聡美(薬師まつり)

Contest Entry

Anything Goes Casual Posting Festival!

#Dojrzała kobieta #Tradycyjny strój japoński #od tyłu #Oglądanie się za siebie #festiwal #jūnihitoe #Sound! Euphonium #Satomi Niiyama

Opublikowano Nov 4, 2026

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copyright: hibike!_euphonium character: Niiyama Satomi (Hibike! Euphonium)., brown hair, loose wavy long hair, Don't let your bangs fall from the center of the forehead, bluish violet eyes, lavender eyes, cool-toned purple eyes, gentle drooping eyes, the lower eyelid gently slopes down from the center to the outer corner, the lower eyelid line is clearly visible, the outer corners of the eyes are soft and round, center part starting high on the crown, middle-aged women, 33 years old, medium breasts, anime-style, official style, anime keyvisual, back view, looking back over shoulder to the right, a realistic and natural documentary festival photograph depicting the Fujiwara Clan Yakushi Pilgrimage procession of the traditional event "Yakushi Matsuri" held in early November on a clear autumn day in the Tsukidate district of Kurihara City, Miyagi Prefecture. In the center of the frame is a luxurious gosho-guruma carrying Princess Shizuhata, a Heian period noble princess, and inside the carriage, a woman sits gracefully on a red zabuton cushion. This woman is Princess Shizuhata, the central figure of the procession, and is the very woman specified by the character LoRA. The woman is not walking outside the gosho-guruma, nor is she standing in front of the carriage body. She is strictly sitting inside the front opening of the gosho-guruma. Around the gosho-guruma, Heian period samurai warriors and male attendants accompany it, slowly proceeding along the road of a nostalgic shopping street. A scene of a gorgeous historical reenactment procession where traditional period costumes harmonize with a modern regional shopping street. [Highest Priority: Role and Position of the LoRA Woman] The woman specified by this LoRA is the only woman playing the role of "Princess Shizuhata", the protagonist of the Yakushi Matsuri. The woman is sitting inside the gosho-guruma and is not walking on the procession road. She is not standing outside the carriage. She is not walking in front of the gosho-guruma. She is not walking beside the gosho-guruma. She is not walking behind the gosho-guruma. She is seated not on the outside of the carriage, but on a red zabuton cushion inside the black-lacquered carriage body. The woman's waist and hips are in contact with the seat inside the carriage, and both legs are tucked inside her costume. The woman's upper body is in a position visible through the front opening, with her face, shoulders, chest, sleeves, hands, and knees clearly visible from the outside. There is only one LoRA woman in the frame, and the same woman must not appear duplicated in another location. No women walking in the procession, nor women guiding the gosho-guruma outside the carriage, should appear. The woman is depicted exclusively as the noble princess sitting inside the gosho-guruma. The woman maintains the visual design of the character specified by the LoRA. A married woman in her early 30s with a neat, elegant aura and long hair. Her facial features preserve the characteristics of the LoRA, conveying the dignity and composure fitting for a noble Heian period princess. [Princess's Costume] The woman wears a luxurious junihitoe-style layered costume fitting for a Heian period princess. Rather than modern western clothing or common kimono, it is a traditional noblewoman's attire with multiple layers of silk robes. The costume combines beautiful colors such as pale wisteria, light pink, vermilion, marigold, and soft spring green. Outermost, she wears a pale wisteria or light pink karaginu-style jacket woven with delicate floral patterns, arabesque designs, and traditional botanical motifs on the surface. Beneath it, multiple robes of vermilion, deep orange, soft spring green, and pale yellow are layered, with different colors of fabric visible in multiple tiers at the neckline and cuffs. The sleeves are large and long, gracefully spreading to the left and right of the seating surface in soft curves. Red and gold decorations adorn the cuffs and edges of the garments, showing the natural sheen of high-quality silk. At her knees, the hems of the gorgeous vermilion-based garments overlap and naturally spread out over the red zabuton inside the carriage. The woman's hairstyle is based on the long, glossy tarigami characteristic of Heian period noblewomen. The hair flows naturally from the back of the head down the back, with soft strands framing both sides of the face. It is not styled into a modern ponytail or short hair, but an elegant hairstyle making use of the LoRA's long hair design. Small, understated gold or red hair ornaments are subtly added to the hair. No large crowns or face-covering ornaments are worn. [Princess's Seated Pose: Most Important] The woman is seated in the center of a red zabuton cushion provided inside the gosho-guruma. It is a clear seated posture, not a standing pose. Her waist and hips contact the cushion, and her upper body naturally straightens its spine. Both legs are contained within the carriage, hidden under the long layered garments. Her knees are aligned in an elegant sitting posture close to seiza. The hem of the long costume naturally spreads from her knees across the seat surface, covering the floor and the red cushion inside the carriage. Both hands are gracefully clasped and placed on her lap. Her fingers are naturally aligned without excessive tension, forming the calm mannerisms of a princess. She may hold a small traditional folding fan in one hand, but without disrupting her hand placement or posture. The woman sits stably on the seat inside the carriage, without leaning out of the vehicle or standing up. Her face and upper body are visible through the front opening of the gosho-guruma, clearly showing from her head to her knees. Her face is angled slightly away from the direct front, wearing a gentle and graceful smile toward the spectators lining the road who came to see the festival. Her eyes are gentle, conveying the calm and dignity of a princess. Her face is at an angle naturally visible from the camera, without being concealed by hair or costume. Rather than a modern smile or exaggerated pose, her expression is natural and refined as a festival participant portraying a historical princess. [Structure and Opening of the Gosho-guruma] The gosho-guruma is a large traditional vehicle recreating an ox carriage used by Heian period nobles. The body is a black-lacquered box shape with a deep black or very dark brown wooden exterior. The sides feature lattice windows and decorative frames, with fine gold and red decorations on the outside. A black framework supporting the roof is on top, and lattice patterns and gold components are visible inside the ceiling. The carriage interior is lined with red- and gold-based woven fabrics, with a red zabuton cushion laid down. Especially important is the large opening at the front of the gosho-guruma. The front faces the camera and is widely opened so the interior is visible. The opening is framed by thick black wooden pillars on the left and right and the roof above. In the center of the opening, only Princess Shizuhata sitting on the cushion is visible. There is sufficient depth inside the opening, and the woman's body does not protrude outside the vehicle. Do not block the opening with thick walls, doors, lattices, curtains, or decorative cloths. Place nothing that obscures the woman's face, upper body, sleeves, hands, or knees. Red and white decorative tassels are placed on the left and right edges of the opening, not hanging in front of the woman's face or body. The overhang of the roof does not darken her face, allowing natural light to reach the interior. Ensure a clear distinction between the woman inside and the black wooden frame of the gosho-guruma exterior. Large wooden wheels are attached to the lower part of the carriage body. The outer rim of the wheels is black or dark brown, and the spokes consist of radial wooden members painted red or vermilion. The wheels contact the ground, firmly supporting the lower part of the body. A thick decorative rope alternating between red and white is wrapped around the carriage body as festive decoration. [Arrangement of Gosho-guruma and Procession] The gosho-guruma is positioned slightly to the right of the center of the frame, with the front opening facing the direction of the camera. The entire carriage body is shown prominently in the midground, and the figure of the princess seated inside the opening can be clearly discerned. The gosho-guruma has a strong presence as the central primary vehicle in the scene, with wheels, body, roof, and opening visible in natural proportions. Around the gosho-guruma, male samurai and attendants dressed in Heian period attire are walking. The men wear robes of dark navy, deep green, brown, purple, and similar colors, with eboshi caps on their heads. They carry tachi swords at their waists and advance in a composed posture suited to a festival procession. The male attendants are positioned to the left, right, front, and rear of the carriage, forming a procession surrounding the gosho-guruma. However, the men must not obscure the princess's face or the front opening of the gosho-guruma. At the head of the procession is an ox pulling the gosho-guruma. The ox has a natural blackish-brown or dark brown coat and is fitted with ceremonial festival tack. The ox is harnessed to the front of the gosho-guruma, fulfilling its role of pulling the traditional ox carriage. The ox's physique and legs are natural, walking slowly along the road. In front of the ox carriage, a male attendant holding red and white ropes

新山聡美(薬師まつり)

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