# Beijing: research and seven compositions Preparation date: 4 October 2026. The original regional map was reviewed visually; its painterly conventions are not considered geographical evidence. ## Inventory of the source map Tea house: people at square tables, teapots, cups and a wooden interior; hutong: low courtyard, bicycle/cart, seated person. Forbidden City, Tiananmen Gate, Temple of Heaven, Yonghegong, Olympic stadium. Summer Palace with a bridge and a boat; Great Wall Badaling/Mutianyu, Ming Tombs with statues along the path. Yan Mountains and Western Hills/Xishan, Dongling peak, Miyun Reservoir, Yongding River, Houhai/Shichahai, Grand Canal and Tongzhou: warehouse, pier, boats, bales. Marco Polo Bridge with lions, a kite, trees and gates. District labels Yanqing, Changping, Huairou, Miyun, Mentougou, Fangshan, Daxing. Jinshanling on the map is neighboring Hebei and is excluded from local Beijing narratives; the Peking Duck restaurant sign is not copied. ## Confirmed tea base Beijing is a tea-consumption, merchant and teahouse city rather than a plantation region. Maliandao is an established tea-trade district. Jasmine tea is central to its everyday tea identity, with long-established tea merchants around Qianmen/Dashilan and other city districts. Its tea and scenting flowers are supplied from southern producing regions; do not portray tea or jasmine plantations in Beijing. Lao She Teahouse links tea to performance, and Laijin Yuxuan is a documented historic park teahouse. Hutong tea tables are an interpretive everyday scene, not a claim that a particular fictional shop exists. Never stage tea growing on the Great Wall or identify Jinshanling as inside Beijing. ## Limitations and interpretation Historical brands are used only as a source about culture; their logos/names are not required on the drawing. Scenes of trade, pouring and performance do not reconstruct a specific day. Do not transfer tea.travel's claims about the largest market, the exact number of scenting cycles, the empress's specific tea room or the "flower dance". Do not turn growing jasmine into local agriculture; only an imported botanical image next to tea is acceptable. ## Sources - [tea.travel — Beijing](https://tea.travel/en/region/beijing/) — Maliandao, jasmine tea, tea house/hutong and cultural monuments; specific unconfirmed palace rituals are not taken. - [Beijing Development Commission — Maliandao](https://fgw.beijing.gov.cn/gzdt/fgzs/mtbdx/bzwlxw/202009/t20200907_1999046.htm) — A trading and cultural tea street. - [Beijing Government — Qianmen merchants](https://www.beijing.gov.cn/fuwu/bmfw/sy/jrts/202402/t20240216_3561815.html) — Real jasmine tea trade, scales and counters. - [Visit Beijing — tea traditions](https://mp.visitbeijing.com.cn/a1/4B2f15mOHi8) — Southern origin of raw materials for the city's jasmine tea. - [Visit Beijing — Lao She Teahouse](https://english.visitbeijing.com.cn/article/4HQOIVVgVST) — A real tea cultural venue. - [Beijing Government — Laijin Yuxuan](https://www.beijing.gov.cn/renwen/whrl/rdtj/202106/t20210615_2412577.html) — A historic park tea pavilion. ## Seven independent solutions ### C1: Jasmine and the hands of the city Botanical subtlety meets everyday urban trade. The scale beam, roof edge and branch establish one quiet connected sweep. Merchant hand and shared tea table are unequal heroes; small stage and pavilion are discoveries, not separate badges. Reserve a tall serif title pocket above the low shop roofs. Fine hatching describes wood and metal only where needed; lettering stays crisp. ### C2: Letters of hospitality Large BEIJING gathered around the counter and conversations over tea. The word is held together by a coherent shop-to-courtyard section with interrupted floor contours. The near paper packet, medium table and far stage create three scales. Use palace vermilion, brass, muted jade, earthy red and sky ink on bounded objects; avoid rendering a large imperial palace behind all letters. ### C3: One Day of City Tea A coherent courtyard shows the path of tea from merchant to listener. A serpentine hutong wall and open wooden arcade connect the four principal actions, with a large foreground pouring hand and modest kettle as the close counterweight. The condensed lower title sits in a quiet gap, never on a solid signboard. Courtyard floor, window openings and table legs remain genuinely transparent. ### C4: Courtyard and celestial circle The city cup connects the modest hutong and large-scale architecture. A curved courtyard-and-garden contour links domestic architecture to monument silhouette without pretending they occupy one actual address. Tall serif BEIJING rests above low imperial roofs. Keep temple circles, bridge arches and courtyard gate openings clean. Tea is a human anchor, not a tiny decorative cup pasted beside landmarks. ### C5: Tea goes through hutong Friendly urban procession from a paper bag to a shared cup. The procession has changing heights: low packet, medium neighbours, tall temple, then distant wall. Shared doorway and roof contours connect its main mass, with clear glaze under bridges and table. Keep every roof complete and refrain from adding microtiles or dense tiny windows. ### C6: The path from packet to cup The energy of movement within the city, without artificial tea mountains. Slanted BEIJING fits over the central roof saddle. Angular hatching on packet folds, timber and stone contrasts with smooth bowl contours. Use open spaces for street, sky and water, no opaque red skyline block. Complete full figures and hands well inside all margins. ### C7: Capital tea in outlines Ten major episodes of the city and tea culture. Only a large upper serif BEIJING is written. The round temple and jasmine sprig rise higher than the wide low tea table; merchant and doorway form a close pair. Leave irregular clear glaze between several scenes, with sparse three-colour accents and no dense continuous city panorama. ## Production format Generation: 3840 × 1280 px, PNG RGBA, true transparency. Drawing and letters fully within x60–3780 / y110–1170. Final print spread: 3840 × 1152 px, 250 × 75 mm. English only, no microtext or Chinese. C7 contains only the region name. C1 — two colors; C2/C3 — five; C4–C7 — three. The palette is individual for each region. Visual verification and the fact of generation are not implied by the presence of this study.