Eastern Mythological Colossal Heavenly Palace Interior and Exterior AI Image Prompt

16:9 Eastern mythological colossal interior and exterior scene. The camera moves into the interior of a continent-scale heavenly palace, using a controlled 24–28mm wide angle and a low-angle three-quarter side view, looking diagonally along the interior colonnade toward the openings between columns. On the left and top of the frame are near colossal structures that extend beyond the frame: city-wall-wide white marble columns, restrained cloud-pattern reliefs, deep red-brown wooden beams, layered dougong brackets, post-and-lintel construction, and enormous flying eaves extending continuously for hundreds of meters. Several huge curtains hang from high inside, their upper edges extending beyond the frame and draping down tens of meters; the fabric is painted with a monumental traditional landscape, layered mountains and water, pines and rocks, sea of clouds, and distant peaks colored in ink and mineral blue-green, with brushstrokes rising and deforming across the hanging folds; the silk fabric is semi-transparent, revealing faint layers of the colonnade and distant light behind. The camera does not face a single column directly but views along the side elevation; at least ten sets of colonnades, balconies, doors and windows, railings, and flying eaves diminish step by step, all converging toward a distant vanishing point slightly right of center, with architectural edges continuing for tens of kilometers. Through the gaps between giant columns, the exterior is visible; in the distance are several floating colossal palaces, appearing and disappearing under atmospheric perspective, their layered flying eaves, glazed tile ridges, and giant platforms softened by pale cyan mist, outlines gradually fading while retaining color and structural readability. In the near exterior corridor and interior floor are a small number of figures in moon-white and pale cyan robes, each occupying only 0.3% to 0.5% of the frame height; ordinary-sized doors, railings, lamps, and figures serve to prove the immense scale of the columns and eaves. On the right side of the frame, through the opening between columns, the view opens completely to clear pale cyan sky and pure white sea of clouds, with only tiny bridges and a distant city area below the clouds. Morning light from the upper right slants into the interior, grazing the white jade reliefs, deep red wooden beams, and curtain edges, creating narrow bright lit edges; the sides of the columns and the deep interior sink into transparent cool blue-gray shadow, not dead black. White jade surfaces remain near-neutral cool white and pale cyan, not tinted warm gold; wood remains deep red-brown with a warm matte texture; the curtain landscape painting remains mineral blue-green and ink-gray; the sea of clouds and sky remain translucent pale cyan and cloud white; high-purity warm color occupies only a very small area concentrated on lit eaves and dougong edges. The whole image has only one perspective system, vertically controlled, with no fisheye distortion. Cloud mist drifts around but never covers the architectural outlines; gaps in the clouds reveal distant layers of flying eaves and colonnades. Near white jade columns, wooden structures, and curtains are heavier, more solid, darker, and more detailed; midground colonnades and flying eaves are dense and discernible; distant floating palaces fade step by step while retaining color and outline. All edges have no railings, and no modern facilities or legible text appear. Deep depth of field, cinematic realism, ultra-wide angle but vertically controlled, clearly distinguishing the surface behavior of white marble, deep red woodwork, glazed tiles, bronze components, silk curtains, and silk clothing. Even without the figures, the heavenly palace must still appear enormous; architectural edges and curtains must extend beyond the frame, and the colossal structure must not be shrunk for completeness.