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新山聡美(馬車でお出かけ)

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PixAI Tsubaki.3 Creation Contest Now Open#Tsubaki.3

#Olgun kadın #oturan #at #dağ #ev #Sound! Euphonium #Meiji #at arabası #Satomi Niiyama #Taişo dönemi #kasaba

Yayınlanma tarihi: Oct 3, 2026

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copyright: hibike!_euphonium character: Niiyama Satomi (Hibike! Euphonium)., brown 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, very wide almond-shaped 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, thick eyelashes, center part starting high on the crown, middle-aged women, 33-year-old, medium breasts. Draw a scene like an old hand-colored photograph depicting a historical Japanese streetscape from the Meiji to early Taisho period. The overall screen should be based on subdued sepia and pale natural colors, with soft coloring as if an old photograph of the time was hand-colored, featuring fine film grain, slight fading, low contrast, and natural light and shadows. There are no modern buildings, cars, utility poles, or modern road signs; it consists only of a historical Japanese townscape. The shot is a wide-angle view from a slightly elevated position looking diagonally down at a road passing through a historical Japanese town in a mountainous or suburban area. From the center to the right side of the screen, a heavy black two-horse carriage is crossing the road. The carriage is a classic box-shaped passenger vehicle as used in Japan from the late 19th to early 20th century, with a black wooden body, a black roof, large windows on the side, thin metal wheels, and a leather-upholstered interior. The carriage is moving toward the right side of the screen, drawn by two black or dark chestnut horses. The posture and leg movements of the horses are natural, appearing to travel slowly through the town. A coachman must be placed at the very front of the carriage. The coachman is a different person from the woman and is sitting in the driver's seat provided at the front of the carriage. The coachman is an adult male driving the carriage, wearing plain and practical clothing typical of a Meiji to early Taisho era Japanese coachman: a dark-colored long-sleeved jacket, trousers, and an old-fashioned hat. The coachman sits with a naturally straight back in the driver's seat, facing the direction of the horses' travel, holding the reins firmly with both hands. The reins clearly connect from the coachman's hands to the two horses. Depict the coachman clearly as the driver operating the carriage, not a passenger. Do not place the coachman inside the passenger compartment or in the same seat as the woman. Ensure the driver's seat and the coachman's upper body are sufficiently visible so the coachman's presence is recognizable at a glance. Place the woman inside the passenger compartment of the carriage. Her clothing should be natural for an upper-class or upper-middle-class woman of Meiji to early Taisho era Japan. The outfit should be a refined outing dress of the time, combining a high-collared blouse in pale cream or near-white, a long skirt in a subdued color such as deep navy or near-black, and an elegantly tailored long-sleeved jacket or wrap-around coat. Decorations are modest, consisting only of a small brooch, gloves, and a small, elegant handbag as women of that time would have worn. Do not include modern accessories, wristwatches, smartphones, or modern bags. The woman's hairstyle should be a modest updo gathered low at the back of the head, typical of an elegant woman of the era, with some hair flowing naturally over her shoulders or back. Avoid overly large hair ornaments, using only small, modest ones. The woman is seated in the carriage's passenger compartment, facing slightly in the direction of travel, quietly gazing at the streetscape outside through the side window. One hand rests naturally on her lap, while the other lightly holds the small handbag. Her posture is elegant and composed, sitting with a naturally straight back. Her expression is a quiet one with a gentle smile; she does not look directly at the camera, but looks at the historical streetscape outside the window. Ensure it is clear that the woman is not standing outside, but is definitely sitting inside the black carriage's passenger compartment. The composition should naturally show her from the upper body to around the waist through the carriage window, making it clear through the window frame and carriage structure that she is a passenger. Do not depict only the woman in a large scale; ensure the entire carriage and the surrounding historical landscape are fully visible. In the foreground of the road, there is a stone-lined waterway or shallow moat with a small wooden bridge spanning it. Around the bridge are old wooden fences, and a single Japanese street lamp of the era stands along the road. The road is unpaved, a natural path mixed with soil and fine gravel. From the foreground toward the center, old stone walls and white-walled fences with tiled roofs continue. In the background, place historical Japanese houses with large grounds. These are grand wooden buildings with multiple layers of large tiled roofs, deep eaves, wooden pillars, lattice doors, white walls, and old tiled roofs. Around the main house are several small detached rooms, barns, and wooden annexes, naturally connected. Depict the buildings not as temples themselves, but as prestigious large Japanese houses or historical residences. In the upper right background, place a distinctive gate surrounded by white gateposts and white fences. An old Japanese sign is attached to the gate; the characters do not need to be legible, but should prioritize the atmosphere of an entrance to a historical facility. Small buildings and a garden are visible beyond the gate. A few people in period clothing may be placed near the gate, but they should not stand out more than the woman in the carriage. Place large old trees such as pines and cedars throughout the background, with trees extending high into the sky from behind the buildings. Distant trees and buildings should appear slightly hazy, evoking the quiet air of a historical town. The sky is bright daylight with thin clouds, and soft natural light that is not too strong illuminates the buildings, carriage, road, and stone walls. The carriage and horses cast natural contact shadows, and soft shadows stretch across the road. The overall atmosphere should be calm and quiet. Place the camera at a distance from the road to capture both the carriage and the historical buildings in a wide shot. Arrange the composition so that the large Japanese house and white walls are on the left to center, and the black carriage crosses from the center to the right. While the carriage is a key subject, it should not be zoomed in to fill the screen; the two horses, the entire carriage, the road, stone walls, bridge, white gate, and giant Japanese house should all fit within a single frame. Maintain the scale of the entire streetscape while ensuring the woman is clearly visible as a passenger inside the carriage compartment. As for the photograph, it should not be a modern high-definition digital photo, but have the texture of an old photograph recording Meiji to Taisho period Japan that was faintly colored in later generations. It should feature fine photographic grain, soft outlines like a print photograph, slightly faded colors, slight light leaks, and a feel of natural aging. Prioritize the reality of a historical documentary photograph, avoiding overly vivid modern colors, modern cinematic expressions, anime-style, or illustration-style.

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