# 湖南——河流载茶

湖南 · HN_C6

安化包装开启一条 S 形路径，穿过木桥通往洞庭湖的船只。

## 已发布文件

250 × 75 毫米 · 3840 × 1152 像素 · RGBA · 390.144 / 390.144 ppi。

已审核可发布 · 已查看图画并对当前文件进行技术检查

[PNG](/assets/artwork/HN_C6.png) · [精确TXT](/assets/prompts/HN_C6.txt) · [浏览器中的档案](/zh/docs/designs/HN_C6.html) · [系列背景](/zh/docs/projects/C6.html)。

[区域研究与来源](/zh/docs/research/hunan.md)。

## 审核依据

新的紧凑构图修正了模糊：大茶缸、带挑夫的桥和茶船绘制清晰；完整的斜体HUNAN和三处标注均可读。动感强烈，三色图形清晰。

PNG RGBA 3840 × 1152 像素；真实 alpha 通道；按比例导出 250 × 75 毫米。

经审阅后允许用于开放画廊；并不意味着用户认可工业化批量生产。

## 创作方案配色

#56354C

#CF9233

#637E51

## 原始生成提示词

以下文本与已发布的 TXT 一致。任务中的标注、细节和调色板是作者的设计意图；这不是最终图像的 OCR。使用的参考图像不包含在 TXT 中。

SHA-256 TXT：`c719aa682bb7054f6f209d8a0deb069c88286c3ba1e82a3983f106200042013f`。

```text
Create a bold HUNAN tea-journey wrap with the reference's energetic diagonal movement. Use three dominant masses: a near-view tea workshop, a climbing bridge-and-pillar route, and a broad river boat. No tiny villages or endlessly textured mountains.

One 3840 x 1280 PNG with real RGBA transparency. Keep all ink inside x60..3780 and y110..1170 for a 250 x 75 mm wrap. No mockup, border, paper, backdrop or sky. Negative space is transparent. Use plum #56354C, ochre #CF9233 and olive #637E51 in flat areas with sharp interior strokes. No white paint, extra colours or gradients.

Set HUNAN once in large slanted display capitals, rising across the upper middle. Every letter is complete, bold and readable. Only three small place labels are allowed, in clear uppercase: ANHUA, JUNSHAN, DONGTING. Keep each on open space beside its scene. No other words, Chinese, numbers, logos or pseudo-writing.

FIRST MASS: the large Anhua workshop fills the left foreground. One tea maker braces a tall Qianliang cylinder and tightens a bamboo binding around it, with clearly articulated hands and sleeves. The cylinder is packed tea, with broad woven bands and a firm closed base, not a drum. A few rectangular dark tea bricks rest on a low bench. A wide bamboo tray of slender Junshan tea buds reaches toward the lower centre beside a small drinking cup. Separate the pointed buds clearly and keep the tray rim continuous. ANHUA sits beside the cylinder; JUNSHAN beside the tray. Contrast the tall cylinder, square bricks and shallow oval tray without adding more tools.

SECOND MASS: an elegant climbing route runs behind the workshop through the central space. A tea porter carries two baskets on a shoulder pole across a short timber bridge. Give the porter a clear silhouette, natural walking legs and visible hands. The bridge's clean diagonal railing leads toward two slender Zhangjiajie stone pillars with small flat-topped pines. Use simple angular rock shapes, not finely textured cliffs. One compact stilt-house roof connects the route to the workshop. These elements form a single rising shape, not a row of isolated icons.

THIRD MASS: a Dongting cargo junk occupies the right foreground. Draw a strong curved hull, two large ochre sails and three clearly shaped tea baskets on deck. One small boatman works at the stern. The sail diagonal answers the title and bridge; sparse flowing river lines return the eye toward the tea tray. DONGTING sits beside the hull. A very small island pavilion behind the boat supplies local character without starting another detailed landscape. Leave the lake itself transparent.

An open tea branch completes each end. Leave gaps around words, faces and hands. Allow natural overlaps of leaves, bridge and sail, while keeping the three main masses distinct. No grid or decorative filler.

Use firm contours, crisp directional strokes and flat ink. Simplify tiny details. No fuzzy foliage, grain, stippling, tangled hatching, watercolour, smudges, ghost lines, mist, shadows, low-opacity wash or blurred water. Keep all words, tools, sails and limbs inside the safe area. Let craftsmanship carry the detail.
```