Genur.art

photorealistic full body fashion photograph of an extremely tall japanese woman, her entire figure visible in frame from her loosened hair down to her bare toes. She has the body of a Paris haute couture runway supermodel walking for Vogue: a ten-heads-tall silhouette, impossibly long legs that take up two thirds of her height, endless long slender thighs and long shins, long willowy arms with slim wrists, a swan-like elegant long neck, broad graceful shoulders, a glamorous figure with full bust, a very narrow high waist and long curved hips, the elongated proportions of a couture fashion editorial. Her face has deeply hydrated glass skin, translucent like porcelain glass, dewy water-light glow, plump and supple, real living skin. Her eyes are extremely narrow horizontal slits, barely open, like two thin ink lines drawn on her face. Heavy hooded single-fold eyelids hide most of her eyes, only tiny dark pupils visible through the slits. Her entire body is covered in a magnificent traditional Japanese irezumi tattoo, a full-body horimono masterpiece: a coiling dragon and swimming koi fish among peonies, cherry blossoms and swirling finger waves, inked in deep indigo, muted crimson and touches of gold, the design flowing unbroken from her shoulders down both arms, across her chest above her breasts, over her back, and down her long thighs to her calves, the intricate linework and soft bokashi shading glowing richly on her skin in the lamplight, crisp detailed tattoo linework, real ink in real skin. She is deeply, hopelessly drunk, but silent and bewitching: her cheeks and ears are flushed rose red from sake, her heavy-lidded gaze slides sideways toward the viewer, slow and smoldering, her moist glossy lips slightly parted, head tilted back dreamily, her whole body loosened and languid with drink, a sultry seductive stillness, a shallow red lacquered sakazuki cup held tipped in one limp graceful hand, an overturned ceramic tokkuri flask lying on the tatami beside her. Her heavy outer kimono has been shed and lies crumpled behind her; she wears only a short thin white silk under-robe (juban), untied and barely clinging: the collar has fallen down to her elbows baring both shoulders completely, her chest deeply exposed, the tattooed skin of her chest and shoulders fully revealed in the lamplight. From the hips down she is completely uncovered: no fabric touches her legs at all, and her tattooed legs and bare feet are completely exposed natural skin — no socks, no tabi — from her thighs to her bare toes. She sits directly on the tatami leaning far back on her outstretched arms, and her impossibly long bare tattooed legs are stretched out toward the camera, dominating and filling the entire foreground of the photograph, one ankle crossed over the other, their endless length exaggerated by the low camera angle, bare toes pointed. The room is empty of furniture: only tatami mats, shoji screens and one andon paper lantern. Late at night in an Edo-period yukaku room, lit only by pale blue moonlight through the shoji screens and the warm orange glow of the andon, cool moonlight and warm lamplight mixing on her tattooed skin. tsukikage, 1girl, solo, tall female, long legs, full body tattoo, irezumi, off shoulder, bare shoulders, bare legs, bare thighs, barefoot, narrow eyes, full body, wide shot, night, indoors, tatami. Bewitching, seductive Japanese allure, an air of yoen erotic elegance. Shot from a low angle near floor level on a full-frame camera with a 35mm lens, the perspective stretching her long legs even longer in the foreground, a fashion editorial composition, this is a real photograph, not a painting.