# Цзилинь — Чайное созвездие

Цзилинь · JL_C1

Гайвань и кратер Тяньчи рифмуются формой; чайное искусство отделено от женьшеня.

## Опубликованный файл

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

Проверено для публикации · Просмотр рисунка и техническая проверка текущего файла

[PNG](/assets/artwork/JL_C1.png) · [точный TXT](/assets/prompts/JL_C1.txt) · [досье в браузере](/ru/docs/designs/JL_C1.html) · [контекст коллекции](/ru/docs/projects/C1.html).

[Региональное исследование и источники](/ru/docs/research/jilin.md).

## Основание проверки

JILIN и основные подписи читаемы; тонкая гравюра показывает чайное искусство и отдельно HERBAL INFUSION с корнем женьшеня. Тяньчи, лес и чайный стол связаны, чайных террас под снегом не видно.

PNG RGBA 3840 × 1152 px; настоящий альфа-канал; пропорциональный экспорт 250 × 75 мм.

Допущен после просмотра для открытой галереи; не означает утверждение пользователем промышленного тиража.

## Палитра авторского задания

#254D43

#A44366

## Точное текстовое задание

Текст ниже совпадает с опубликованным TXT. Надписи, детали и палитра в задании — авторский замысел; это не OCR конечного изображения. Использованные изображения-референсы не включены в TXT.

SHA-256 TXT: `75b1e026251affb24ab87febe29366b47352eea372638eea07c627b894739e4d`.

```text
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.


C1: TWO-INK COLLECTOR ATLAS. Follow the fine observational pen language of the Guangdong constellation reference, but replace dotted links with an interwoven tea panorama. Use one confident dark contour, selective short etched shading and the second ink as deliberate highlights. Give vessels, hands and roofs credible construction; elegant narrow serif typography. The pleasure comes from discovering real tea activities within a single composition, not from connecting floating specimens. No all-over scratch texture.

REGION: Jilin. Exact ink palette: #254D43, #A44366. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Focus on present-day tea practice in a northern region: an expert at a Jilin old-street tea table warms a gaiwan and pours imported loose-leaf tea into two small cups; a separate shelf holds plain tea tins and a weighing scoop. Nearby hands compare dry leaves on a narrow presentation tray and brewed liquor in two glasses. A Changbai traveller carries a simple tea thermos into a pine-side shelter; this is an authored contemporary pause, not a claimed old ritual. A Songhua riverside window and restrained roof profile establish the Jilin setting around these tea actions. As a smaller, clearly separate botanical scene, show one ginseng root, a cut-root plate and a transparent herbal-infusion glass beside a shaded ginseng bed; ginseng is not tea and the bed must never become tea-bush rows. Let the winding river, the Tianchi crater lip and one pine branch supply a distinctive natural framework. No invented Changbai tea cultivar, local tea plantation, medical claims or purported historic ceremonial shop.

SPECIFIC COMPOSITION:
A large gaiwan held by a tea practitioner sits just right of center; its open rim echoes, without physically becoming, the distant Tianchi crater. A curving tabletop flows left into the old-street window and leaf-weighing shelf. On the right the traveller and thermos occupy a pine shelter, while a small separated ginseng root-and-glass occupies the lower end. Put the strongest two-ink contrast into the pouring hand and the vessel rims; the mountains receive only sparse fine contours. Nest JILIN above the street roof in elegant serif capitals. A dry-leaf tray and two comparison cups should feel like deliberate professional tea tools, not decorative saucers.

VISIBLE TYPE: exact main title "JILIN" once. Use only these optional small English labels, integrated beside the appropriate scenes and large enough to read: JILIN CITY, TEA ART, CHANGBAI, HERBAL INFUSION. Do not add other text. 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.
```