Guerrier blessé agenouillé sur un ours abattu dans une forêt au clair de lune

Hyper-realistic oil painting, ultra-low-key lighting, dense gloomy coniferous forest, night, almost total darkness, only the central clearing faintly lit by a dim blood-red moon. A Slavic warrior kneels over the body of a massive dead bear, his body riddled with gashes, bruises, and bloody wounds. His tattered, mud-soaked clothing hangs loosely off his frame, torn and crusted with dried blood. His face is gaunt, exhausted, and scarred, with deep shadows carving out his cheekbones and brow. He holds a broken spear in one hand, its shaft splintered, his other hand pressed against a gash on his side. The bear beneath him is immense, its fur matted with dark sticky blood, its mouth agape in death. The scene is illuminated from above by a single beam of crimson moonlight, catching the warrior's face, the bear's head, and the blood pooling on the ground, while everything else — the forest, the tree trunks, the moss — is swallowed by pitch-black shadows. The light reveals every pore, every bead of sweat, every cut and dried smear of mud on his skin. His skin is raw, chapped, covered in tiny scars, open sores, and dirt. Blood glistens wetly on fresh wounds, while older blood has dried into dark brown crusts. His beard is tangled, his hands calloused and cracked. The atmosphere is brutal, mournful, and eerily silent. Deep shadows, extreme contrast, cold and warm tones clashing. Textures of fur, skin, wood, mud, and metal rendered with extreme precision. Painting style inspired by Andrey Yesinov (hyper-realism, brutal detail) and Simon Stålenhag (moody, atmospheric light). Fine art, 8K, no retouching.