1. Historical reference priorities

Use the following references for their specified purposes:

Chichén Itzá, Temple of the Warriors / Northwest Colonnade: Primary reference for the serpent’s head, the open jaws surrounding a human face, and the organization of the sculpted facial elements.

Chichén Itzá, Caracol Disk: Reference for the flowing, undulating Feathered Serpent body and the relationship between a serpent and an emerging human figure. Adapt the body into this new vertical composition.

Uxmal, sculpture commonly called the “Reina de Uxmal”: Secondary reference for the sculptural treatment of the human face, restrained headband, ear ornaments, and the relationship between the face and enclosing serpent forms.

Petén limestone stelae, particularly Seibal/Ceibal Stela 10: Reference for the upright slab, worked limestone surface, shallow relief, and monumental proportions.

Keep these roles distinct. Do not transfer the historical people, royal costumes, inscriptions, or political identities of the reference monuments into the new composition.

When reference photographs or archaeological drawings are attached, prioritize their actual forms over generalized ideas of “Mesoamerican” decoration.

2. The stone monument

Depict a single substantial limestone slab standing upright.

Give it an elongated, approximately rectangular silhouette, a gently rounded upper edge, and slight asymmetry consistent with a hand-worked stone monument. Its proportions should suggest a visible height of roughly two metres, with enough width for the serpent’s open jaws and human face to remain clearly readable.

The front should be broadly flat. Show a narrow side edge so the thickness and physical weight of the slab are apparent.

Use predominantly shallow raised relief against a recessed background, with fine incised details. Allow somewhat deeper recesses within the mouth and between overlapping elements, while keeping the entire image physically integrated with the slab.

Avoid turning the serpent into a freestanding sculpture attached to a flat background.

3. Overall composition and anatomy

Place the serpent’s head and the human face in the upper portion of the stela. Give this relationship enough space to become the main focal point.

Below the head, arrange the serpent’s body in one broad, controlled, descending S-shaped curve. The body should occupy most of the central field and remain easy to follow from neck to tail.

Maintain a coherent body thickness that gradually tapers toward the end.

Show the complete tail within the composition. If a terminal rattle is included, derive its sculpted form from a documented Chichén Itzá serpent reference and keep it clearly connected to this single body.

Keep a modest area of worked stone available beside the composition for a later verified inscription.

Anatomical requirements:

• One serpent head.

• One human head situated within the serpent’s mouth.

• One continuous serpent body.

• One tail.

• No additional serpent heads, duplicated faces, branching bodies, or disconnected coils.

• No arms or legs attached to the serpent.

4. Serpent head and open jaws

Construct the serpent’s head using the formal shapes of the Chichén Itzá reference: a substantial snout, prominent eye surrounds, emphatic upper and lower jaws, and clearly carved teeth or fangs.

Use the documented scrolls and contours of the reference where visible. Keep them organized as parts of a sculpted head rather than adding ornamental curls indiscriminately.

Present the head predominantly frontally so the open jaws visibly frame the human face. Connect the head convincingly to the body below.

Make the mouth opening broad enough for the human face to be read clearly. The upper jaw should frame the forehead and crown; the lower jaw should support the composition beneath the chin.

Keep the teeth around the perimeter of the opening. They must not intersect the human eyes, cheeks, lips, or forehead.

The visual action is a human presence being revealed through the open jaws. Avoid an image of biting, injury, or swallowing.

5. Human head within the mouth

Place one human head within the mouth opening, with only a limited indication of the neck if needed.

Render the face entirely as carved limestone, using the sculptural vocabulary of the archaeological references: clearly defined eyelids, a carefully modeled nose, shaped lips, and a composed expression.

Keep the face legible and dignified. Preserve the slight asymmetries and simplifications appropriate to carving.

If using the Uxmal reference, retain its restrained beadlike headband and ear ornaments at an appropriate scale. Do not expand these into an elaborate invented crown.

The face must be structurally integrated with the surrounding relief. Its stone, wear, lighting, and carving depth must match the serpent.

Do not insert a living human face into the stone mouth. Do not create a separate full human body beneath the head.

6. Feather treatment

Make the feathered identity readable through organized groups of elongated carved feather forms.

Use the feather shapes and arrangements visible in the Chichén Itzá references. Position them around the head and along selected sections of the body so they complement the serpent’s movement without obscuring its anatomy.

Express feathers through flattened relief forms, distinct contours, and restrained incised detail. Keep their organization deliberate, with subtle variation consistent with hand carving.

The feather arrangement must remain distinguishable from the tail.

Do not transform the plumage into a furry mane, a mass of hair, or a pair of large wings.

7. Surface, material, and preservation

Use pale, warm gray limestone with subtle cream and beige variation.

Show believable mineral texture, small pits, softened edges, and limited surface wear. Preserve the readability of the human face, jaw opening, feather outlines, and body.

Keep the carved recesses slightly darker through natural shadow and material variation.

For this first version, use a predominantly unpainted, present

Create a hyperrealistic cinematic video of the exact carved sculpture in the attached reference image, exhibited inside a glass display case in an elegant museum.REFERENCE ACCURACYThe four reference views depict different angles of ONE solid, three-dimensional sculpture. Show exactly one sculpture. Preserve its proportions, substantial thickness, angular serpentine body, layered carved feathers, circular eyes, open serpent jaws, and the human face within the mouth. Match the warm, weathered stone, porous surface, small chips, and faded terracotta-red and charcoal pigments. Maintain identical geometry and surface details throughout the shot. Every changing view must reveal the same physical object.MUSEUM SETTINGThe sculpture stands upright on a simple matte stone pedestal, fully enclosed within a clear rectangular glass case with generous space around it. The surrounding museum is quiet and understated, with softly illuminated neutral walls and distant exhibits gently out of focus. The sculpture is the visual centerpiece.CAMERA MOVEMENTOne continuous, uninterrupted shot with the precision and stability of a programmed motion-control camera rig. Begin at a medium-wide three-quarter angle, showing the complete sculpture and its glass enclosure. Make a slow physical dolly forward, then transition seamlessly into a smooth 120-degree orbit around the front of the case, passing through the frontal view and continuing toward the opposite three-quarter angle.Maintain a steady camera height and a level horizon. Keep the sculpture centered and its entire silhouette visible, including the highest feathers and the base. Use gentle acceleration and deceleration with an even, unhurried pace. The camera stays physically outside the case, clearing every glass corner. The sculpture, pedestal, and enclosure remain completely stationary; only the camera moves.LIGHTING AND GLASSSoft, warm museum spotlights reveal the depth of the carving, delicate stone texture, and naturally worn pigment. Gentle shadows remain visible between the feathers and inside the open jaws. The glass has realistic thickness, faint edge highlights, and restrained reflections that shift naturally with the camera’s position. Keep the sculpture clearly visible through the glass, with no distracting glare over the human face.PHOTOGRAPHIC FINISHAuthentic live-action museum cinematography, natural perspective, restrained depth of field, sharp sculptural detail, subtle motion blur, stable focus, and consistent exposure. Realistic parallax between the glass, sculpture, and background. The carved human face and every sculptural feature remain completely immobile. Finish with a gentle, controlled settling of the camera on the final angle.Negative prompt / exclusions:Multiple sculptures, reference-sheet layout, captions, rotating pedestal, spinning artifact, animated face, blinking, moving mouth, moving feathers, changing carvings, morphing geometry, flat cutout, floating sculpture, camera passing through glass, distorted reflections, excessive glare, shaky camera, sudden acceleration, jump cuts, abrupt zoom, focus pulsing, flickering light, plastic texture, glossy stone, cartoon rendering, artificial CGI appearance.