Синьцзян — Чай пересекает пустыню

STEP 1 — original generation

Create an extraordinary original ceramic PRINTING DECAL of the requested region, using the attached approved GUANGDONG design as the compositional and drawing benchmark. This is a new richly connected regional illustration, not a mug mockup. The attached image is the STYLE reference; its Guangdong-specific subjects and lettering must all be replaced by researched content below. There is deliberately no regional map image in the input: the supplied text already contains the factual map inventory. Match the reference's visual richness, collector appeal, confident drawing and sense of a whole place.
THE CRITICAL LESSON: the previous trial failed because it looked like disconnected stickers in two rows. Do NOT make a contact sheet, a tidy row of icons, independent floating islands, equal-sized scenes, evenly spaced caption boxes, or a catalogue. Compose ONE engrossing panorama with three depths, dramatically varied scale and a continuous visual journey. Use a dominant local hero story, a counterweight and many integrated discoveries. Neighbouring scenes may meet, partially overlap, share a ridge, a street or an architectural contour. Smaller stories nest inside the larger world. Tea leaves, architecture, process tools, people and landscape must interact, not hover independently. The result should reward a minute of looking, not be exhausted as a list in two seconds.
TRANSPARENCY AND COMPOSITION: keep genuine alpha-zero exterior and natural interior openings. No rectangular paper/sky/sea/land background, no opaque white backing, no coloured atmospheric wash, no checkerboard. Transparency should feel like carved breathing channels WITHIN the illustration: a river gap, space under a bridge, a temple court, a clear aperture around a word. Only two or three quiet pockets across the panorama, never a blank moat around every item. Do NOT target a transparency percentage. Do not join the drawing with decorative dotted connector lines: link it through actual regional geography, streets, terrain rhythm, roof lines, branches and meaningful human action. Sparse irregular fine strokes may suggest water or roads. No solid province silhouette.
CANVAS: native RGBA PNG, 3840x1280, quality max. Draw a long shallow panorama across x=60..3780 and y=95..1185, using almost the full width. All marks and letters whole, with a modest clear safety margin. The final proportional print is3840x1152 at250x75mm. Do not create a central16:9 picture with huge blank side panels; do not solve spacing by shrinking the entire artwork. All objects remain undistorted. Most shapes should belong to a shared irregular silhouette, with selected disconnected tiny natural accents only.
CRAFT: exceptionally crisp intentional ink, precise silhouette design, beautiful local detail and confident line weight. Detailed does not mean fuzzy crosshatching everywhere. Small captions use dark high-contrast ink, correct English capitals and sufficient clear space to read at real mug scale. No tiny italic map handwriting, nonsense text, Chinese script or decorative fake writing. A clear main regional title appears once; the title is part of the composition, not a separate header with empty space beneath. Preserve the designated colour family, not the exact Guangdong colours of the reference. No borrowed commercial logos, political emblems, invented plantations, tea health promises, unverified dates or superlatives.
REGIONAL TRUTH: distinguish tea cultivation from trade, processing, drinking rituals and herbal infusions. More density must come from deeper local storytelling, not duplicated generic gardens or fabricated tea regions. In non-growing regions show how tea is transported, sold, prepared and shared. The content specification below outranks recognisable Guangdong objects in the attached style reference.

COLLECTION LANGUAGE — ONE LIVING TEA TERRITORY. Follow GD18's connected tea geography and broad changing scale. Regional geography acts as the underlying structure: a branching transparent river, a mountain spine, caravan corridor or urban street shape links tea stories. Never force literal administrative borders; preserve sensible relative relationships where they serve the map idea. A large foreground craft/hospitality scene leads into middle-distance places and tiny far ridges. Regional heading in strong condensed type belongs inside the lower landscape rhythm. No park badge collection, no identical icons, no numbered map keys.

XINJIANG — TEA ARRIVES; HOSPITALITY MAKES IT LOCAL. This must be recognisably Central Asian Xinjiang, not a southern Chinese tea garden wearing a different label. Tea is imported and consumed here; NO Camellia plantations, southern tea terraces or tea pickers. Desert trade and six distinct forms of serving create the tea story. Draw real everyday hospitality with dignity, no costume caricatures. Felt yurts, Uyghur adobe houses and religious architecture are different building types. Use actual poplars and grape arbors, not tropical palms. Bactrian camels have two humps. Tea-bale caravan imagery is an editorial symbol of exchange, not a surveyed historical route.
Six researched tea-culture episodes must live within the shared world, with unequal importance: KASHGAR: a magnificent two-storey adobe old-city teahouse, carved wooden balcony, open arcade, host pouring from a copper kettle into shallow bowls, naan and a low carved tea table; this is the emotional hero. ILI: Kazakh milk-tea hospitality beside a felt yurt, milk pitcher, kettle, bowls and baursak, one tethered horse and poplars. URUMQI: imported compressed tea commerce inside a bazaar arcade, opened brick showing pressed leaf texture, parcels, balance scale, hands weighing tea, no invented vendor logo or local cultivar. TURPAN: tea and naan under a grape arbor, a sun-warmed earthen wall, one slender local minaret in the distance and Flaming Mountain ridges. HOTAN: a rose/herbal infusion distinct from Camellia tea, metal kettle, scattered rose petals, carved bowls and a silk-fold cue; no medical promises. TACHENG: a quieter courtyard milk-tea conversation, benches and a shared tray. These are places along a thematic tea journey, not six equally sized postcard frames.
Source-map richness to integrate naturally: snowy Altai peaks and three yurts with horses toward the north; Tian Shan's extended mountain barrier through the middle distance; Ili's river/poplar oasis; angular Flaming Mountains by Turpan; the Tarim River along the desert's northern edge with Aksu and Korla; the small Lake Bosten and sparse dry channels recalling Lop Nur toward the east; Taklamakan dune ribbons; Kashgar's old-city roof maze; the turquoise-tiled Apak Hoja dome with four corner towers near Kashgar, never labelled Hotan; Pamir and Kunlun ridges at the southern side; a tiny soaring eagle. Oasis agricultural rows may be hinted but must not look like tea cultivation. Include Altay and Karamay as subtle settlement silhouettes if useful, not gratuitous tiny labels. Preserve the distinct map vocabulary through drawing rather than through a mass of unreadable text.
English typography only. Main name exactly XINJIANG once. Six short tea-place captions KASHGAR, ILI, URUMQI, TURPAN, HOTAN, TACHENG should be easy to find at the correct local episode; never on disconnected rectangles or leader-line diagrams. Optional geography words limited to TIAN SHAN, TARIM, TAKLAMAKAN where the chosen composition offers real legible space. No Chinese, Cyrillic, Arabic script, pseudo-lettering, dates or tourism marketing slogans. A vessel never substitutes for an entire landscape: the world is large, the kettle belongs to people in it. Do not make a giant cup-shaped container for the whole region.

COMPOSITION — A CONTINENTAL TEA JOURNEY IN ONE TERRITORY. Build a wide, gently bent geographic panorama with north roughly up and west left, not a literal filled administrative boundary. A continuous Tian Shan ridge is the main structural armature, with the Tarim river's open transparent ribbon and caravan track describing a second curve below. Kashgar's large tea-house courtyard anchors the lower left foreground; its platform and street stretch inward and link the scale of people to the long-distance landscape. Behind the tea house, a small domed Apak Hoja complex and roof maze identify the western old city. The upper left contains Ili river poplars, a felt yurt and a close milk-pouring gesture, with grazing horses smaller behind. Tacheng appears as a small courtyard sharing the northern settlement rhythm, and Altai peaks rise faintly but crisply in the distance. No independent island circles.
Above the middle ridge northward, the Urumqi bazaar is embedded in a condensed town cluster with tea parcels, an open compressed brick and a merchant's scale enlarged selectively to reveal what is traded. Eastward, Turpan is a grape arbor giving shade to a tea/naan gathering; earthen roofs sit in front of sharp Flaming Mountain strata. Below, the Tarim makes a long negative-space curve along Aksu and Korla, briefly widening into a Lake Bosten suggestion. Taklamakan dune lines fill the compositional rhythm rather than a solid desert colour panel. Hotan's rose-infusion table and silk craft sit along the southern edge, near a low Kunlun line; Pamirs close the far western horizon. One two-humped camel train is visibly arriving at the street, one attendant reaching toward a waiting host. The crossing from travel to shared tea is the story, not an arbitrary abundance of kettles.
Main XINJIANG uses strong condensed capitals woven into the lower middle river/desert opening; two tiny craft objects may slightly overlap its outer baseline but never obscure letters. Geography labels only TIAN SHAN, TARIM and TAKLAMAKAN; six tea-place captions in clear dark capitals at their scenes. Five inks assigned by meaning: adobe #733F33 structure, teal #187D83 tiles/water, ochre #C99546 dunes and cloth, olive #87965A poplars/grape leaves, rose #A46C8B Hotan petals/details. Large foreground bowl, hands and architecture balanced with tiny distant horses and peaks give depth. The result should read as a single elaborate drawn tea-country, not a dashboard of attractions.

FINAL PRIORITIES: one connected world, instant Xinjiang identity, real tea hospitality, extraordinary crisp drawing, true alpha and whole English lettering. The attached Guangdong reference sets the visual craft and richness; do not reproduce its tea gardens or place names.

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STEP 2 — targeted edit of preceding image

Redraw the attached XINJIANG illustration as a precise transparent ceramic-print decal, retaining its rich connected desert/tea-world idea but correcting the tea geography and graphic style. Native RGBA PNG 3840x1280; actual alpha=0 behind all drawing, not white paper. Use crisp outlined ink and five flat colours: adobe #733F33, teal #187D83, ochre #C99546, olive #87965A, rose #A46C8B. No full-colour landscape painting, fake checkerboard, rectangular backing or label plaques. A broad shallow connected panorama, all marks x60..3780/y100..1180, no cropped edges. Main XINJIANG is clean condensed capitals integrated lower middle, once, with transparent counters. Remove all English slogan sentences and remove KUCHE completely.
The narrative is imported tea transformed into local hospitality; no tea plantations. Exactly SIX bold readable place captions, attached to six actual tea scenes joined by a shared mountain/river/street structure, NOT a row of isolated frames:
KASHGAR, left foreground: a magnificent carved wooden two-storey teahouse; a seated host pours from a copper kettle, guests share bowls and naan. The tiled Apak Hoja dome with four corner towers is small behind KASHGAR, not near Hotan.
ILI, upper left behind the tea house: felt yurt, horses, poplars, kettle, milk pitcher, bowls and baursak. Tea culture with a milk-pouring gesture.
URUMQI, upper centre: a bazaar trader weighs IMPORTED compressed tea bricks on a scale, real open tea parcel and pressed leaves.
TURPAN, middle-right: grape arbor shelters a tea and naan gathering, adobe wall, slender minaret and Flaming Mountain ridges beyond.
HOTAN, lower-right foreground: ROSE/HERBAL infusion, not local Camellia tea; rose petals, copper kettle, carved bowls and folded silk, a human hand preparing the drink. No giant exhibition of glass drinks.
TACHENG, far right: a quiet courtyard MILK-TEA conversation, bench and shared tray, not a duplicate teahouse with a different name.
All six names spelled exactly, dark adobe capitals about44px high. No other place text besides optional TIAN SHAN and TARIM. Fill drawing with regional life, not more labels. Tian Shan makes a crisp broad middle-distance mountain spine, Tarim is an actual transparent curved river opening along the northern desert edge, dunes form the southern rhythm. A Bactrian camel train carrying rectangular packs enters Kashgar's street, varied scales and selective overlaps. Lake Bosten, little Kunlun/Pamir peaks, a soaring eagle, a few distant settlements provide map richness. No same-sized sticker islands; people, roofs, terrain and tea actions interlock. No opaque paper patches behind title or captions. Sparse natural transparent apertures remain in river, courtyards and around title. One cohesive, tea-specific graphic collector artwork, not a tourist poster. Return the art with REAL transparent alpha, no visual simulation of transparency.