Синьцзян — Атлас тёплых встреч

STEP 1 — original generation

Create an extraordinary original ceramic PRINTING DECAL of the requested region, using the attached approved GUANGDONG design as the compositional and drawing benchmark. This is a new richly connected regional illustration, not a mug mockup. The attached image is the STYLE reference; its Guangdong-specific subjects and lettering must all be replaced by researched content below. There is deliberately no regional map image in the input: the supplied text already contains the factual map inventory. Match the reference's visual richness, collector appeal, confident drawing and sense of a whole place.
THE CRITICAL LESSON: the previous trial failed because it looked like disconnected stickers in two rows. Do NOT make a contact sheet, a tidy row of icons, independent floating islands, equal-sized scenes, evenly spaced caption boxes, or a catalogue. Compose ONE engrossing panorama with three depths, dramatically varied scale and a continuous visual journey. Use a dominant local hero story, a counterweight and many integrated discoveries. Neighbouring scenes may meet, partially overlap, share a ridge, a street or an architectural contour. Smaller stories nest inside the larger world. Tea leaves, architecture, process tools, people and landscape must interact, not hover independently. The result should reward a minute of looking, not be exhausted as a list in two seconds.
TRANSPARENCY AND COMPOSITION: keep genuine alpha-zero exterior and natural interior openings. No rectangular paper/sky/sea/land background, no opaque white backing, no coloured atmospheric wash, no checkerboard. Transparency should feel like carved breathing channels WITHIN the illustration: a river gap, space under a bridge, a temple court, a clear aperture around a word. Only two or three quiet pockets across the panorama, never a blank moat around every item. Do NOT target a transparency percentage. Do not join the drawing with decorative dotted connector lines: link it through actual regional geography, streets, terrain rhythm, roof lines, branches and meaningful human action. Sparse irregular fine strokes may suggest water or roads. No solid province silhouette.
CANVAS: native RGBA PNG, 3840x1280, quality max. Draw a long shallow panorama across x=60..3780 and y=95..1185, using almost the full width. All marks and letters whole, with a modest clear safety margin. The final proportional print is3840x1152 at250x75mm. Do not create a central16:9 picture with huge blank side panels; do not solve spacing by shrinking the entire artwork. All objects remain undistorted. Most shapes should belong to a shared irregular silhouette, with selected disconnected tiny natural accents only.
CRAFT: exceptionally crisp intentional ink, precise silhouette design, beautiful local detail and confident line weight. Detailed does not mean fuzzy crosshatching everywhere. Small captions use dark high-contrast ink, correct English capitals and sufficient clear space to read at real mug scale. No tiny italic map handwriting, nonsense text, Chinese script or decorative fake writing. A clear main regional title appears once; the title is part of the composition, not a separate header with empty space beneath. Preserve the designated colour family, not the exact Guangdong colours of the reference. No borrowed commercial logos, political emblems, invented plantations, tea health promises, unverified dates or superlatives.
REGIONAL TRUTH: distinguish tea cultivation from trade, processing, drinking rituals and herbal infusions. More density must come from deeper local storytelling, not duplicated generic gardens or fabricated tea regions. In non-growing regions show how tea is transported, sold, prepared and shared. The content specification below outranks recognisable Guangdong objects in the attached style reference.

COLLECTION LANGUAGE — THE INTIMATE DRAWN REGIONAL ATLAS. Follow GD01's hand-drawn collector engraving: vivid richly observed local details, traditional roofs, animals/transport, crafts, nature and real tea life. A curved scenic backbone connects two hero stories at different scales; smaller details share terrain and lead the eye around an irregular outline. Tall elegant serif title nests among ridges or roofs. Tea, city and landscape are one lived place. Use three inks; show woven fabrics, carved wood and foliage with disciplined detail rather than photographic shading. Never an encyclopaedia of separate specimen boxes.

XINJIANG — TEA ARRIVES; HOSPITALITY MAKES IT LOCAL. This must be recognisably Central Asian Xinjiang, not a southern Chinese tea garden wearing a different label. Tea is imported and consumed here; NO Camellia plantations, southern tea terraces or tea pickers. Desert trade and six distinct forms of serving create the tea story. Draw real everyday hospitality with dignity, no costume caricatures. Felt yurts, Uyghur adobe houses and religious architecture are different building types. Use actual poplars and grape arbors, not tropical palms. Bactrian camels have two humps. Tea-bale caravan imagery is an editorial symbol of exchange, not a surveyed historical route.
Six researched tea-culture episodes must live within the shared world, with unequal importance: KASHGAR: a magnificent two-storey adobe old-city teahouse, carved wooden balcony, open arcade, host pouring from a copper kettle into shallow bowls, naan and a low carved tea table; this is the emotional hero. ILI: Kazakh milk-tea hospitality beside a felt yurt, milk pitcher, kettle, bowls and baursak, one tethered horse and poplars. URUMQI: imported compressed tea commerce inside a bazaar arcade, opened brick showing pressed leaf texture, parcels, balance scale, hands weighing tea, no invented vendor logo or local cultivar. TURPAN: tea and naan under a grape arbor, a sun-warmed earthen wall, one slender local minaret in the distance and Flaming Mountain ridges. HOTAN: a rose/herbal infusion distinct from Camellia tea, metal kettle, scattered rose petals, carved bowls and a silk-fold cue; no medical promises. TACHENG: a quieter courtyard milk-tea conversation, benches and a shared tray. These are places along a thematic tea journey, not six equally sized postcard frames.
Source-map richness to integrate naturally: snowy Altai peaks and three yurts with horses toward the north; Tian Shan's extended mountain barrier through the middle distance; Ili's river/poplar oasis; angular Flaming Mountains by Turpan; the Tarim River along the desert's northern edge with Aksu and Korla; the small Lake Bosten and sparse dry channels recalling Lop Nur toward the east; Taklamakan dune ribbons; Kashgar's old-city roof maze; the turquoise-tiled Apak Hoja dome with four corner towers near Kashgar, never labelled Hotan; Pamir and Kunlun ridges at the southern side; a tiny soaring eagle. Oasis agricultural rows may be hinted but must not look like tea cultivation. Include Altay and Karamay as subtle settlement silhouettes if useful, not gratuitous tiny labels. Preserve the distinct map vocabulary through drawing rather than through a mass of unreadable text.
English typography only. Main name exactly XINJIANG once. Six short tea-place captions KASHGAR, ILI, URUMQI, TURPAN, HOTAN, TACHENG should be easy to find at the correct local episode; never on disconnected rectangles or leader-line diagrams. Optional geography words limited to TIAN SHAN, TARIM, TAKLAMAKAN where the chosen composition offers real legible space. No Chinese, Cyrillic, Arabic script, pseudo-lettering, dates or tourism marketing slogans. A vessel never substitutes for an entire landscape: the world is large, the kettle belongs to people in it. Do not make a giant cup-shaped container for the whole region.

COMPOSITION — TWO SCALES OF WARMTH. Create an intimate, highly accomplished pen atlas with two unequal heroes: a close Kashgar carved-balcony teahouse on the left, and a sweeping much larger but lighter network of Tian Shan and Tarim landscape through the centre/right. Make the small lived details magnificent: wooden lattice, a hand on the kettle handle, a tray resting on woven cloth, two naan breads stacked without symmetry, bowls visible on a shelf. An incoming camel caravan passes behind the tea-house wall so the foreground and long road belong to one place. The Apak Hoja dome and four towers appear as a small distinct Kashgar landmark behind its roofs.
Ili's felt-yurt hospitality sits in the ridge's upper-left cradle with three yurts at different distances, horses and poplar foliage; a milk pitcher and baursak tray establish tea rather than generic camping. A grapevine threaded along a low wall leads the eye toward a Turpan arbor, with its local minaret and Flaming Mountain strata beyond. Urumqi tea cargo and a tiny weighing counter sit where two drawn bazaar lanes converge near the upper middle; Tacheng is a small open courtyard in this northern cluster. The Tarim flows as a long thin transparent space between gentle hatching, past small Aksu/Korla settlements, Lake Bosten and dry Lop Nur textures. On the southward dune edge, a Hotan host's tea kettle and rose petals sit beside a beautiful fold of silk. Pamir/Kunlun ridges and a small eagle balance the far right with plenty of actual drawing in the lower half.
Draw the nine source-map cities as varied settlement scales when feasible, but label only KASHGAR, ILI, URUMQI, TURPAN, HOTAN, TACHENG and the main XINJIANG. Do not add nine unrelated title boxes. XINJIANG in tall thin serif sits inside a large natural bend, with the silhouette of one roof tucking toward its side. Three inks: dark adobe #733F33 for the majority of crisp pen, teal #187D83 for water/tile/textile line and ochre #C99546 for dunes and warm accents. Transparent interiors of buildings and mountains, no pale paper wash. Reward close looking with observed region-specific craft and movement. Blend tea and regional travel about equally, every local vignette anchored by terrain, street or roofline.

FINAL PRIORITIES: one connected world, instant Xinjiang identity, real tea hospitality, extraordinary crisp drawing, true alpha and whole English lettering. The attached Guangdong reference sets the visual craft and richness; do not reproduce its tea gardens or place names.

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STEP 2 — targeted edit of preceding image

Edit this exact attached XINJIANG pen illustration for print. Preserve the distinctive drawing, linked panoramic composition, exact XINJIANG serif title, mountain linework, carved Kashgar tea-house architecture, local tea people, yurts, caravan, rose infusion, grape arbor and the adobe/teal/ochre ink scheme. This is a repair, not a new artistic direction.
CRITICAL: the grey/white checkerboard visible in the image is erroneous painted background. REMOVE THE ENTIRE CHECKERBOARD and all white paper backing, replacing it with TRUE alpha-zero transparency in the PNG. This includes outside the illustration, inside all gaps between fine strokes, behind captions, above mountains, under the caravan, through river and courtyard openings. Never paint a different checkerboard or white backdrop. Keep actual ink colours and their fine edges intact. No halos or paper texture. Preserve the drawing on transparent background, not a single rectangular cutout.
Finish the clipped outer edge of the left teahouse and foliage; ensure a modest transparent safety margin on all sides with every architectural edge wholly present. Keep art across nearly the full width, within x60..3780 and y95..1185 on3840x1280. No stretch. Output PNG RGBA3840x1280, background transparent. Dark high-contrast place names exactly KASHGAR, ILI, URUMQI, TURPAN, HOTAN, TACHENG; correct the southern mountain name to KUNLUN, remove any stray pseudo-word. Main XINJIANG once, retain its serif. No new slogans, legends, Chinese or mockup. Do not change tea hospitality into plantations. The final is a transparent three-ink illustrated decal with an irregular edge, not a scene printed over a grey grid.