Genur.art

dskchan, a blue-haired whale girl with fin-like ears on both sides of her head and a whale tail, wearing a flowing white classical Greek chiton with a golden girdle, a laurel wreath in her hair, barefoot. An epic awe inspiring ultra wide mural of the entire history of human civilization, and the whole picture is packed full of the scroll and the girl, with no empty background visible anywhere in the frame. A single enormous parchment scroll of history sweeps across almost the whole frame from left to right, undulating in great waves like a ribbon carried on the wind: across the left half of the picture it rises and dips three times in long rolling curves, and it takes up the great majority of the picture, from edge to edge and from top to bottom, so that the paper is the whole world of the picture. Every age, every figure and every building is contained on the sheet of the scroll, standing on the paper itself, including the palaeolithic hunters with their camp fire at the very start and the white rocket and the silver lunar module at the very end, and nothing at all appears outside the scroll or floats in any separate sky or empty space beyond its edges. Only the extreme far left sixth of the picture is seen at a distance, where the scroll recedes away and the first age is small and far off; from there onward the scroll comes forward toward the viewer and stays large, near and at full size in the foreground all the way to the right edge of the frame, so that every later age is seen big. Along the scroll the eleven ages of human history appear in strict chronological order from left to right, one after another, each one appearing exactly once in its own place, with no age repeated, none out of order and none left out. In their exact order: first, at the far left and furthest away, a small band of palaeolithic hunters in furs crouched around a fire beside a woolly mammoth; second, ancient Egypt, golden pyramids with workers hauling blocks up a ramp and the head of a sphinx; third, Mesopotamia, a mud brick ziggurat with scribes pressing wedges into clay tablets; fourth, ancient Greece, white marble temple columns with philosophers arguing and an athlete throwing a discus; fifth, Rome, a red and gold triumphal arch with legionaries marching beneath it; sixth, the middle ages, a castle gate with a knight on horseback, a smith at his forge and cathedral scaffolding; seventh, the age of discovery, tall ships with white sails and an explorer bent over a chart on a barrel head; eighth, the industrial revolution, a steam locomotive crossing a stone viaduct, navvies laying track and a printer working a wooden press; ninth, the modern age, glass towers with airliners overhead and cars on an elevated road; tenth, the space age, a white rocket lifting off its pad beside a silver lunar module; eleventh, at the far right and nearest of all, the information age, a cool blue hall of server racks and satellite dishes with technicians crouched patching cables. Each age is painted in its own distinct dominant colour so that one period can be told from the next at a glance: ochre and firelight, gold and lapis blue, terracotta, white and azure, scarlet and gold, deep green, ocean blue and sail white, iron grey and furnace orange, steel teal, starry black and silver, and cool cyan. Every figure and building is carved out of the paper itself, three dimensional and sculpted, raised out of the surface of the sheet with only their feet and bases still joined to the paper, standing proud of it but always rooted in and resting on the scroll and never detached from it, overlapping the scroll and each other in depth and casting long deep shadows back across the page, so that the whole history reads as a carved three dimensional relief in the paper. They are scattered freely at every depth and height, each one busy at their own work and caught mid action. There is no empty sky and no bare empty space anywhere: the rest of the background around and behind the scroll is filled with flying loose pages tumbling and drifting through the air, sheets covered in close written text and calligraphy, and simple ink diagram drawings on paper of wheels, gears, maps, stars and figures, all of them scattering and blowing about, together with layers of curling aged paper and hanging banners, so that the frame is filled right into every corner. In the right foreground, closest to the viewer of all, stands one single girl, much larger than any figure on the scroll: dskchan, a blue-haired whale girl with fin-like ears on both sides of her head and a whale tail, wearing a flowing white classical Greek chiton with a golden girdle, a laurel wreath in her hair, barefoot. Her body is turned toward the right but her head is turned back over her shoulder to look left, her eyes resting on the scroll and its long stream of history, and on her face there is a gentle, warm, motherly smile, serene, kind and full of tenderness. She is shown from head to knee and fills the right side of the frame from top to bottom. Her right arm is raised and her right hand grips the narrow rolled end of the scroll, the paper tapering down out of her fingers and then widening away to the left across the whole picture. She wears a flowing white classical Greek chiton with a golden girdle and a laurel wreath in her hair, barefoot, radiant and divine, her long blue hair and pale sash lifted by a slow wind, a pale divine radiance behind her. Warm aged parchment and richly coloured gouache filling the frame, raking light sweeping along the scroll, fine dust motes in the air, quiet, monumental, sacred, solemn, sublime, divine. Ultra wide 1792x512 three and a half to one panoramic composition. painterly digital illustration, ultra detailed, masterpiece, best quality.