# Tibet — Tea Constellation

Tibet · XZ_C1

Whisk and sweet tea form two pillars; three real southeastern tea clusters retain their independence.

## Published file

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

Checked for publication · Drawing review and technical check of the current file

[PNG](/assets/artwork/XZ_C1.png) · [exact TXT](/assets/prompts/XZ_C1.txt) · [dossier in browser](/en/docs/designs/XZ_C1.html) · [collection context](/en/docs/projects/C1.html).

[Regional research and sources](/en/docs/research/tibet.md).

## Review basis

TIBET is whole and legible, clear YIGONG/MEDOG/ZAYU and BUTTER TEA/LHASA/SWEET TEA. Three real southeastern tea contexts are distinguishable on the left, butter tea and urban hospitality are separate. Sharp two-color engraving line, without painterly mud.

PNG RGBA 3840 × 1152 px; real alpha channel; proportional export 250 × 75 mm.

Approved after review for the open gallery; does not imply the user's endorsement of industrial production.

## Creative brief palette

#24477D

#D6A135

## Original generation prompt

The text below matches the published TXT. Inscriptions, details, and palette in the assignment are the author's intent; this is not OCR of the final image. Reference images used are not included in the TXT.

SHA-256 TXT: `9935f6405d936b1d4aca7fec2e74dde0c628d216658041ecbf10786c36736943`.

```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: Tibet. Exact ink palette: #24477D, #D6A135. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Tibet has three genuine tea-production clusters in the humid southeast, which must all remain distinct: Yigong/Bomi has a picker with a fresh-leaf basket on a wooded tea slope; Medog has steep humid tea gardens, a second leaf-gathering gesture and a compact processing tray; Zayu is represented by a leaf-sorting or drying bench, a few tea shrubs and a simple workshop roof, associated with regional black-tea production. Do not move these farms to Everest, Kailash, Nagqu or the cold western plateau. A much larger Lhasa sweet-teahouse table shows two relaxed guests, a kettle and plain glasses or cups; it is everyday urban sociability, not a named historic facade. A separate pastoral butter-tea host uses a wooden churn and bowl near one yak; this is tea drinking, not highland leaf cultivation. Wrapped compressed tea and a pack animal illustrate transport and provision, without inventing a monastery pressing factory. Contrasting forested southern folds and a dry open plateau ridge should explain the climatic difference visually. No health claims or assertions that all Tibetan tea is imported, and no falsely uniform carpet of plantations.

SPECIFIC COMPOSITION:
The visual hinge is a large wooden butter-tea churn and a human hand offering a bowl, slightly left of center. A lower Lhasa sweet-tea table answers it on the right, while three distinct humid southeastern stations curve below and behind: Yigong picker, Medog garden and Zayu leaf bench. Preserve their different actions and forested setting; a single dry plateau ridge above the churn contrasts with the southern foliage. A plain compressed tea parcel and pack-yak head are small foreground discoveries, not exotic decoration. Use dark blue to describe construction and ochre to highlight a few roof, tea and basket details. The elegant title sits above the gap between churn and table.

VISIBLE TYPE: exact main title "TIBET" once. Use only these optional small English labels, integrated beside the appropriate scenes and large enough to read: YIGONG, MEDOG, ZAYU, LHASA, SWEET TEA, BUTTER TEA. 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.
```