Ningxia — Parade of Landmarks

Create one exceptional, completely flat regional ceramic-print artwork. This is the actual printable illustration, never a cup, product photograph, mockup, presentation board or simulated ceramic surface. The collection reference controls drawing language only: invent a new composition for the specified region and replace all Guangdong-specific objects. The source map supplies a regional inventory, not a paper texture or a layout to trace literally.

TECHNICAL CONTRACT: native canvas exactly 3840 x 1280 pixels, true RGBA PNG. Keep every visible mark, letter, ornament and antialiased edge inside x=60..3780 and y=110..1170. The final delivery will use a centered 3840 x 1152 export for a 250 x 75 mm wrap; leave the native safety area completely transparent. Compose for a long horizontal physical print, not a conventional poster. Nothing is cut off at either end. All exterior space and meaningful holes between objects must have alpha zero. No painted background, white underpainting, sky rectangle, tinted paper, land silhouette, colour fog, opaque backdrop or checkerboard. The wearer-visible ceramic supplies the unprinted space. Use the specified colours as ink, with normal edge antialiasing; do not invent extra white, black or metallic ink. Never print dimensions, crop marks, palette swatches, filenames, reference names or instructions.

ART DIRECTION: create a memorable hierarchy, a major focal scene and a quieter counterweight; alternate large close forms with medium stories and a few small discoveries. Let tea life interact with the region. Connect selected objects through a real roofline, tabletop, lane, ridge or river contour; retain clear breathing channels so each gesture and vessel is legible. Do not impose any percentage of empty space. Avoid both a cramped rectangular carpet and timid isolated stickers. Use confident, intentional linework that will survive the 75 mm print height. Limit texture to useful material clues. Any water, snow, steam or clouds are sparse outlines with transparent interiors, never washed fills. No photographic gradients, glow, heavy grunge, blurred edges or tiny illegible hatch fields.

FACTUAL DISCIPLINE: the scenes below distinguish cultivation, processing, trade, hospitality and non-tea infusions. Do not turn imported tea, berries, ginseng, barley, trees or grasslands into tea plantations. Do not invent a local tea cultivar, a named historic tea shop, medical effects, a precise trade route or archaeological evidence. Landmarks are cultural/geographic motifs, not assertions that tea was grown or traded at their gates. A contemporary tea pause next to a landmark is an authored scene, not a documentary historical claim. Keep people natural and respectful, with plausible hands and gestures; use no decorative pseudo-script.


C5: BOLD FRIENDLY LANDMARK PARADE. Confident rounded pen turns, double-contour regional lettering, reduced architectural silhouettes and a joyful procession of people, local travel motifs, vessels and landmarks. Three flat inks and spare patches of colour. Vary height and scale sharply; objects overlap through useful shared contours rather than being pasted in one equal-sized row. Tea must remain a visible living action in this mixed regional collection. Rounded does not mean infantile, and friendly does not mean generic.

REGION: Ningxia. Exact ink palette: #8B343F, #A28E42, #447C7C. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Ningxia is the meeting of the Yellow River garden and arid mountain/desert shapes. Show the steep broken Helan skyline, a small Western Xia earthen tomb with a stepped or conical rammed-earth silhouette rather than an Egyptian pyramid, the tapering triangular arrangement of Qingtongxia stupas as a simplified group, a low courtyard with regional mosque-inspired architectural details, and a few Tengger dune contours. Add a Zhongning goji branch and harvest basket, a Xumishan cliff niche drawn respectfully, and two Loess Plateau cave-house arches. Irrigation lines are a few elegant open strokes; no painted yellow river or green territory fill. Do not pack all mosques into repeated identical domes. Tea guests and preparation tools are the foreground life of this map-derived landscape.

Tea anchors that remain visible: Babao preparation and a three-piece gaiwan greeting, ingredient sorting, genuine Zhongning goji harvest, and a clearly separate berry infusion.

SPECIFIC COMPOSITION:
Lead the procession with a large goji branch and a basket, then a host gracefully lifts a gaiwan lid as the word NINGXIA opens in bold double-contour letters. A stepped tomb, a short stupa cascade and a rounded courtyard gateway create an uneven up-and-down rhythm. One little dune and two cave-house arches close the opposite side. The small ingredient tray is an important foreground clue; make dates, berries and leaf shapes distinguishable with a few marks. Connect only selected feet and table legs by a curved riverbank, never an equal row of tourist symbols.

VISIBLE TYPE: exact main title "NINGXIA" once. The regional title is the only printed text. Do not add small location labels. No Chinese characters, bilingual captions, pseudo-calligraphy, gibberish, slogans, logos or signatures. Prioritize visual storytelling over words. Do not allow letters to merge with foliage or buildings. The design must feel like a collectible regional artwork that a tea professional would want to handle and study.