# Jiangxi — Ten Things of Jiangxi

Jiangxi · JX_C7

A simple tea album with an open bowl, gables, a bridge and a sail.

## Published file

250 × 75 mm · 3840 × 1152 px · RGBA · 390.144 / 390.144 ppi.

Checked for publication · Drawing review and technical check of the current file

[PNG](/assets/artwork/JX_C7.png) · [exact TXT](/assets/prompts/JX_C7.txt) · [dossier in browser](/en/docs/designs/JX_C7.html) · [collection context](/en/docs/projects/C7.html).

[C7: drawing method and style references](/en/docs/C7_METHOD_RU.md).

[Regional research and sources](/en/docs/research/jiangxi.md).

## Factual basis and choice of subjects

A simple tea album with an open bowl, gables, a bridge and a sail.

## Title and drawing language

The assignment provides only one word — JIANGXI, in large Latin serif letters. Small toponyms, Chinese text, numbers and third-party logos are excluded. This is a description of the assignment; actual legibility is assessed separately.

## Drawing method and style references

Photographs of real tourist mugs with city scenes of Guangzhou, Macau, Hong Kong and Zhuhai were studied. From them, observed drawing features were taken: medium lively hand outline, simple recognizable silhouettes, selective flat color accents and a large title in the upper band. The specific set of viewed angles varied by region.

Local scenes vary in scale, shape, and height. Their juxtaposition creates an overall rhythm; a continuous panorama, a shared horizon, a grid of identical modules, and a fixed percentage of empty space are not imposed. Transparency is preserved between and within outlines.

The ceramic surface, highlights, hands, and the object background of the photographs are not part of the new drawing. Reference images and personal source photos are not published here. The three colors of each region are the author's palette, not a measured paint standard of the photographed cup.

## Review basis

Full JIANGXI and confident medium hand outline. Large tea operations, porcelain work, Huizhou houses, and bridge clearly distinguishable; only the required title, clean flat fills, no obvious defects.

PNG RGBA 3840 × 1152 px; real alpha channel; proportional export 250 × 75 mm.

Approved after review for the open gallery; does not imply the user's endorsement of industrial production.

## Creative brief palette

#2F457B

#B57241

#759383

## Original generation prompt

The text below matches the published TXT. Inscriptions, details, and palette in the assignment are the author's intent; this is not OCR of the final image. Reference images used are not included in the TXT.

SHA-256 TXT: `40771c21850c1ecb172497fb173019d6cb25b8ef4fa7611c023cd13fb7f3eae0`.

```text
Create one original flat souvenir print, not a mug or mockup. Use the supplied successful C7 cup-illustration reference for scale and hand, not its subjects. PNG RGBA, 3840 x 1280 px, artwork inside x=60..3780 and y=110..1170; final print 3840 x 1152 px, 250 x 75 mm. Genuine transparent background and unfilled interiors. No white or cream panel, paper, shadow, fuzzy wash, gradient, background horizon or photographic ceramic. Crisp selective flat accents on actual objects, many open interiors. A broad organic arrangement across the strip, not a small central picture.
A SIMPLE HAND-DRAWN SOUVENIR ALBUM. Follow the supplied successful C7 reference for generous object scale, medium clean contours and selective flat colour. Use 5–7 px principal outlines at this master size, gently irregular; only 3–5 internal explanatory strokes per object. No dense weaving, tiny leaf carpets, stippling, crosshatching or painterly haze. Eight to ten unequal large groups fit around one another in a lively informal order, with open interiors. No badges, frames, equal grid or monumental continuous scenery. Only the large English region name is printed, once; no small captions.
REGION TITLE: JIANGXI. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #2F457B, #B57241, #759383. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN large unequal groups in a relaxed irregular order. One: a Wuyuan maker working a shallow tea pan with five tender leaves. Two: a broad Fuliang sorting tray and one hand selecting a shoot. Three: a Xiushui Ninghong rolling board with five long curled black-tea leaves, distinct from the green-tea pan. Four: a pale Zixi tea sprig with three open leaves and one bud. Five: a Suichuan picker with one basket and three gentle garden curves. Six: three Wuyuan horse-head gables, dark contour and mostly open walls, one little door only. Seven: a Jingdezhen potter’s wheel with a single generous cup being formed; no printed copied porcelain pattern. Eight: a small pottery kiln arch and two plain cups, a ceramic craft group distinct from tea processing. Nine: a stone arch bridge with four stone marks and one simple boat beside it. Ten: a compact Lushan mountain roof above two angular ridge steps, a quieter travel accent. Let the boat and cup give two different curved shapes, while gables and mountain roof supply unequal heights. Print JIANGXI once, large upright friendly capitals in a local upper opening, fitting between the sprig and gables rather than on an empty full-width banner. Tea tools and leaves should be at least as visually memorable as the ceramic objects. Allow a hand to overlap the tray and the bridge to tuck behind a house corner; no equal grid or grand continuous painted scenery. Main outlines are 5–7 px; each object gets only three to five internal explanation strokes. Selected flat accents can colour leaf halves, roof sides and a small clay surface; no extra blue pigment outside the specified palette. Most vessel interiors, water and walls remain genuine alpha. No dense roof tiles, basket weave, hundreds of leaves, smoke, paper texture, white panel, shadows, labels or Chinese writing. Keep every silhouette complete and readable at cup scale.
REGIONAL FACTS AND LIMITS:
Wuyuan/Fuliang green tea, Xiushui Ninghong black tea, Suichuan tender leaves and Zixi pale-leaf green tea are distinct. Jingdezhen supplies ceramic craft, not a tea plantation inside a kiln. Poyang boat, horse-head gables, stone bridge, Lushan and southern forest ridges are source-map motifs. Gougunao must never become an animal joke; oil-tea fruits do not replace Camellia sinensis leaves. Most walls and vessels remain open transparent drawing. This ten-subject album selects main tea/travel ideas rather than claiming a complete inventory.
FINISH: memorable large silhouettes, simple confident outside contours, few internal marks, restrained colour. Keep all required objects whole and all lettering readable. Do not fill trays with hundreds of miniature leaves. No small captions, numbers, signatures, logos, Chinese text or repeated extra words. Flat transparent artwork only.
```