Belfast Political Mural Sectarian

Re-render this image in the visual register of Belfast and Derry political gable-wall murals from the 1970s through the post-1998 Good Friday period (the body of hand-painted exterior murals produced on terraced-house end walls along the Falls Road, Shankill Road, Bogside, and Ardoyne, by both republican and loyalist communities, documented extensively by an academic studying political murals). Hand-painted exterior wall aesthetic: flat house-paint emulsion on rendered pebbledash or smooth painted brick gable end, large-scale mural occupying an entire two-story end wall. Palette dependent on factional register: republican-tradition palette runs forest green, white, gold-yellow, sky blue, with black and white photographic-portrait elements; loyalist-tradition palette runs Union red, royal blue, orange, white, with stark black-and-white historical-portrait elements. Both registers use saturated flat color with hard outline and a slight house-paint glossiness. Rendering: figure painted with photographic ambition but mural simplification, hand-painted portrait with reasonable likeness but no fine detail, surrounded by symbolic-element architecture (sunbursts, banners, harps, lilies, or rampant lions, fists, gauntlets, depending on faction). Surface: pebbledash texture visible under the paint, occasional drainpipe or window-edge intruding into the composition (handled as compositional feature not problem), drip-streaks down from cornice from rain wash, faded patches where southern light bleached pigment. Light: flat documentary daylight, terraced-street photography frontal-on, ladder-bay slightly off-axis, the wall photographed by a passerby. Composition: monumental single figure or paired figures occupying the gable, symbolic field around the figure organized as heraldic banner, the composition reads as a flag-as-wall. Mood: claimed territory, sectarian assertion as community signature, the wall declares which side of which road this is. Strictly no on-canvas legible text, no Tiocfaidh ar la, no UVF or UDA lettering, no IRA lettering, no Easter Rising dates, no King Billy lettering, no street names, no slogans, no watermark. Preserve the subject, pose, and composition of the source image exactly, change only the medium, surface, and palette register. Aspect ratio matches source.