Hand-Painted Golu Doll Portrait

Create one vertical 9:16 image: a product photograph of a real hand-painted clay golu doll, a portrait likeness of the woman in the attached photo, standing on the top step of a home kolu padi draped in vermilion cloth, in festive silk.

FACE MATCH - TOP PRIORITY: The attached photo is the identity source only. The golu doll is unmistakably her, instantly recognisable, never a generic doll or cartoon face. Carry her face into painted clay exactly: hairline, hair colour and texture, brows, eye shape and spacing, nose, lips, jawline, chin, cheek width, skin tone, any mole or scar in its exact place, and every facial proportion. Restyle the medium, never the face. Take nothing else from the photo - not its light, expression, clothes, pose or background.

FRAME: The whole doll and its painted base, centred, filling about eighty percent of the frame height, sharp from hair to base; camera level with the doll's chest, 85mm product lens.

BODY: Painted clay rendering at natural adult proportion - head in true scale to the shoulders; only the rendering changes and her features keep their true shapes and spacing, eyes never enlarged. One intact figure: two arms, two hands, two legs and two feet, every limb unbroken, doing only what is described; each hand four separately sculpted fingers resting together and a separate thumb.

SCENE: The top step of a kolu padi draped in plain vermilion cloth, three small traditional village dolls far to camera-left, a pale lime-washed wall behind. Nothing else.

WEARING: A magenta silk pavadai to the ankles with a broad gold-painted border of small diamonds; an emerald silk blouse with elbow sleeves; an opaque gold-painted davani across the chest and over the left shoulder, never over the head; small painted gold jhumkas clear of the jaw. Her own hair, in a long painted braid, unadorned.

POSE: Weight on the back leg, both feet side by side below the hem, flat on the base; hips turned about 15 degrees to camera-left; her near hand resting on the pleats at the thigh; the far hand holding the davani edge at the waist.

GAZE: Face a clear three-quarter, eyes on the three village dolls at camera-left, not at the camera. Both eyes fully open, irises round and whole, each with a defined pupil and one small reflection of the key. Warm and gentle: her own lips closed, corners lifted slightly; the warmth only in slightly lifted lower lids.

LIGHT: Key: a large softbox, neutral daylight white, at camera-left high at about 45 degrees. Fill: a white card at camera-right at chest height, one stop under the key. The gold paint a step dimmer than her face. Her face takes the key like the rest of her: the best-lit element of the figure, a catchlight in each eye.

MEDIUM: A real hand-painted clay golu doll photographed as a physical object: satin varnish over painted clay, fine brush detail on the garment borders, softly rounded sculpted folds. Face, neck and hands are one continuous painted clay skin in her exact skin tone, never lighter or pinker; each garment keeps its own finish and a crisp edge.

TEXT: No text, logo or watermark anywhere; the cloth, base, wall and village dolls are plain, every pattern shapes with no letters.

FINAL CHECK: The golu doll's face is unmistakably the woman in the attached photo, every feature carried into painted clay, lit by the key - if any feature differs, it is wrong. One intact figure, limbs and hands exactly as described. Vertical 9:16, no text.