# 上海 — 大都市的茶生活

上海 · SH_C7

茶馆、市场和出口港之城：上海特色剪影，蓝橙手绘风格。

## 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 · C7：重新查看图稿并进行技术检查

[PNG](/assets/artwork/SH_C7.png) · [精确 TXT](/assets/prompts/SH_C7.txt) · [浏览器档案](/zh/docs/designs/SH_C7.html) · [系列背景](/zh/docs/projects/C7.html)。

[C7：绘画方法和风格参考](/zh/docs/C7_METHOD_RU.md)。

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

## 事实依据与题材选择

上海——茶叶贸易与社交之城。新任务的五个茶组分别关注湖心亭、茶叶市场、出口码头、石库门沙龙和实物品鉴。另外五个展示城市与自然。不添加茶园。

市场场景参考 Tianshan 和 Daning，但不声称精确还原立面。石库门中的茶聚是概括性的城市生活。历史码头和轮船取自地图；不声称具体船只或航次。

浦东、朱家角、带有静安图案的有轨电车、Donghai/Yangshan 和带有鸟类的芦苇 Chongming/Dongtan 形成尺度与主题的对比。荷风轩和龙华已从精简版中排除。佘山的梯田状条带不被视为茶树种植。

## 图名与图语

任务中只规定了一个词——SHANGHAI，用大号衬线拉丁字母。小地名、中文文本、数字和第三方标志均被排除。这是任务描述；实际可读性另行评估。

## 原始构思的情节清单

以下逐字列出英文作者提示中计划的组别。这是对选题的透明解释，而非承诺生成器复现了每个细节。

1. 湖心亭茶馆：可辨认的中国亭子，有两层上翘的瓦顶，底层开放的茶桌和两个简单的人分享小杯茶；旁边有短曲桥。轮廓清晰宜人，没有巨大的寺庙或中世纪城堡。

2. 放大的品茶静物：带盖的盖碗、公道杯、两个小杯和竹勺盛着长条扭曲的散叶。清晰的宽大器皿曲线。微小的橙色茶汤点缀；器皿主体透明开放。

3. 一个茶叶市场摊位：一个普通柜台，四个无标签的储茶罐、茶则、敞开的茶叶盘，以及一个摊主递给顾客一个小品茶杯。手和杯子可见，没有精致的房间。

4. 石库门弄堂茶景：石框住宅门口，一张小圆桌，两位邻座，一人正在倒茶。几面简墙和屋顶边缘，并非宫殿。

5. 历史茶叶出口码头：两个敞开的木箱盛放干叶，一名工人与一艘单漏斗小型货轮。其后是外滩钟楼立面片段。箱体与船上无文字。这是上海的贸易遗产，而非茶园。

6. 独特的现代浦东地标群，最高的建筑群但完全在画布内：东方明珠的大圆球和上方较小球体位于细长结构上；阶梯状的金茂大厦；顶部有标志性矩形开口的上海环球金融中心；曲线收窄的上海中心大厦。四个不同、简单可辨的轮廓，稀疏的窗户，无幻想塔楼，无横跨整个条带的巨大全景。

7. 朱家角：一座拱形石桥、小舟、两片瓦顶、两枝短柳和仅两条水线。桥洞与周围水面通透。

8. 历史上的上海单节有轨电车，车身短而圆润，有几扇车窗和两个可见的车轮，车后露出一小片偏移的静安寺屋顶。电车标识空白，没有香港双层电车。

9. 现代港口：短弧形东海大桥段带桥墩、一台集装箱起重机和船首。桥梁未拉成通栏边框。所有形状都舒适地包含在内。

10. 崇明湿地：两只长腿水鸟和一丛松散的芦苇，采用相同的 blue/orange 配色，三笔短促的岸线。无填充岛屿或水面背景。

## 绘制方法与风格参考

研究了广州、澳门、香港和珠海城市主题的真实旅行杯照片。从中提取了观察到的图案特征：中等生动的手绘轮廓、简单可识别的剪影、选择性平面色彩点缀和顶部带状大标题。具体查看的角度组合因地区而异。

当地场景在尺度、形态和高度上各不相同。它们的并置形成整体节奏；不设定连续全景、统一地平线、相同模块网格或固定留白比例。轮廓之间与内部保持通透。

陶瓷表面、高光、手和照片中的物体背景不属于新绘图。参考图像和个人原始照片不在此发布。每个地区的三种颜色是作者调色板，而非所拍摄茶杯的实测涂料标准。

## 审核依据

重新审阅根目录并对台湾第二版进行独立评审：完整的上海，四座可识别的浦东塔楼，茶具和城市茶场景；之前的裁剪和绘画式薄雾已去除。

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

已审核作为额外 C7 试点展示；不代表用户声称印量。轮廓比真实手绘笔触略均匀；未识别出单独的历史茶码头，不声称执行 10/10 情节。

## 创作方案配色

#214D69

#96C6D0

#DD9151

## 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：`e89ad1652c6b1853c7e15576ffd16758ef15b71599e19035ad518129a8b3ba8e`。

```text
Draw a NEW SHANGHAI tea-and-travel illustration, matching the supplied real tourist-cup photos very closely in graphic style. Deliver ONLY flat print artwork on genuine transparent RGBA. Never depict a mug, photograph, ceramic, perspective cylinder, hands holding a product or a mockup. Learn the simple, friendly hand-drawn medium outline and sparse flat colour of the cup illustrations. Do not imitate any photographed logo, copy any monument from another city, or reproduce the curved crop of a cup photograph.

COMPLETE UNCROPPED STRIP. Native image 3840 x 1280 pixels. Fit the ENTIRE composition within x=60..3780 and y=110..1170. All marks including text, roof peaks, leaves, ship, vessel bases and tower antennas must be inside that rectangle with transparent margins on every side. Design the overall artwork as one long, low strip for a 250 x 75 mm print. Nothing may touch the canvas boundary. This is a complete finished panorama of separate little objects, never a zoomed-in fragment. No border or measurement marks.

Only visible text: SHANGHAI, spelled correctly once. Large charming uppercase souvenir serif letters in dark petrol blue, upper middle-left, occupying about one quarter of the width. Leave space above every letter. No captions, numbers, Chinese, shop signs or any other text. Letters are readable simple letters, not buildings.

Use just THREE inks: dark petrol blue #214D69 for the main drawing; soft sky blue #96C6D0 and muted orange #DD9151 for occasional flat interior patches. No black, green, white, beige, grey or additional colours. Most object interiors stay unpainted and genuinely transparent. Pen contours approximately 5 to 7 pixels thick at native size, a little uneven as drawn by a person. Simple windows, a few leaf veins, only a few hatching strokes. Crisp flat ink rather than scratchy dry brush, pencil grain, detailed engraving, watercolor, photorealism, isometric 3D or generic vector icons. Match the actual souvenir-cup drawing's immediate clear silhouettes.

Arrange TEN unequal groups in a lively interlocking rhythm, staggered heights, some larger and some smaller, like the original cups. Open irregular channels separate the groups; not a uniform icon grid and not a continuous coloured landscape. Tea activity occupies five substantial groups:
1. Huxinting teahouse: recognizable Chinese pavilion with TWO stacked upturned tiled roofs, open ground-floor tea table and two simple people sharing small cups; short zigzag bridge beside it. A welcoming clear silhouette, no immense temple or medieval castle.
2. An enlarged tea-tasting still life: lidded gaiwan, fairness pitcher, two tiny cups and bamboo scoop of long twisted loose leaves. Clear broad vessel curves. Tiny orange infusion accents; open transparent vessel bodies.
3. A tea-market stall: a plain counter with four unlabelled storage tins, scoop, open tray of leaves, and a vendor handing a little tasting cup to a customer. Hands and cup visible, no elaborate room.
4. A shikumen lane tea scene: stone-framed residential doorway with a small round table and two seated neighbours, one pouring tea. A few simple walls and roof edges, not a palace.
5. Historical tea-export dock: two open wooden chests holding dry leaves, one worker and a small ONE-funnel cargo steamer. A short Bund clock-tower facade behind them. No lettering on boxes or ship. This is Shanghai's trade heritage, not a tea plantation.
Balance them with FIVE compact city and nature groups:
6. Distinctive modern Pudong landmark cluster, the tallest group but still fully inside the canvas: Oriental Pearl's large round sphere and smaller upper sphere on a narrow structure; stepped Jin Mao; Shanghai World Financial Center with its recognizable rectangular opening at the top; curved tapering Shanghai Tower. Four different, simple recognizable outlines, sparse windows, no fantasy towers and no giant panorama spanning the strip.
7. Zhujiajiao: one arched stone bridge, small skiff, two tiled roofs, two short willow branches and only two water lines. Bridge openings and surrounding water transparent.
8. Historical Shanghai SINGLE-deck tram, short and rounded, a few windows and two visible wheels, with a small offset Jing'an temple roof behind it. Blank tram signage, no Hong Kong double-decker.
9. Modern harbour: short curved Donghai Bridge segment with piers, one container crane and ship bow. No bridge stretched into a full-width border. All shapes comfortably contained.
10. Chongming wetland: two long-legged waterbirds and a loose cluster of reeds in the same blue/orange palette, three short bank strokes. No filled island or water background.

Make the headline, round gaiwan, pavilion and Pudong silhouettes the anchors; fit smaller scenes between their irregular edges. Vary scale generously. The title and vessels must be easily seen at printed 250 mm width. Do not crowd architecture with hundreds of windows, do not invent western towers, no huge botanical leaf, no repeated anonymous cups or filler clouds. Tea grows elsewhere and is traded/enjoyed here: no tea plantation in Shanghai. Only the specified local urban and wetland subjects.

Crucial transparency: every area without an actual coloured pen mark or deliberately small accent fill is alpha zero. No white rectangle, white stickers behind objects, paper, cream wash, background painting, checkerboard simulation, glow or drop shadow. No opaque interior fill by default. The white visible in reference photographs is ceramic and MUST become transparency in this new flat file. Produce one clear, complete, uncropped, inviting drawing in the real cups' visual language.
```