# 内蒙古 — 基于真实杯具

内蒙古 · NM_C7

十个大型场景以简洁轮廓呈现：六个茶事动作和四组地域母题。

## 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/NM_C7.png) · [精确TXT](/assets/prompts/NM_C7.txt) · [浏览器中的档案](/zh/docs/designs/NM_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/innermongolia.md)。

## 事实依据与题材选择

十个大型场景以简洁轮廓呈现：六个茶事动作和四组地域母题。

## 图名与图语

任务中只规定一个词——INNER MONGOLIA，用大号拉丁衬线字母。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. 画面中央偏左的主要场景是一位蒙古族主人将长柄勺高举在宽大的金属锅上方。一条流畅的奶茶弧线回到锅中。面部、手和长柄勺要画得干净利落，不要添加微型首饰或织物图案。

2. 在茶釜旁，一个透明的牛奶壶和两只碗构成一组中等静物。一只碗由伸出的手递出；再添一小碟烤谷物，以简单的椭圆笔触表现，而非杂乱。

3. 左侧是一座完整的圆形毡房，单门敞开，有客人被迎入。屋顶、基座和人物完全可见。一条简单的几何门饰即可。

4. 一张低矮的茶叶贸易桌，上面有一块紧压的矩形茶砖、旁边放着一把刀、一个茶则和两个包装整齐的进口茶包。用六条短排线绘制茶砖，而不是模糊的地毯。

5. 一座呼和浩特风格的商门，敞开的拱门中悬挂着一台天平；秤盘和绳结清晰可见。

6. 一头驮着货物的双峰骆驼站在高大的金色杨树旁。两者都是自信完整的剪影，带有少量鞍具线条。

7. 两匹充满活力的马和一座带一面旗的小型石堆敖包构成较高的东侧对应物；只用五块大石，不要密集的乱石堆。

8. 一道浅湖轮廓，一松一鹿安静地收束右端。湖面是三条干净开放的曲线，绝非填满的水面。

## 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

干净的纪念杯轮廓，三种受控油墨，清晰的内蒙古标题；奶茶锅、砖茶贸易、蒙古包、骆驼和草原地标均可辨认。

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

#204D6D

#BE923B

#7B984A

## 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：`02324269d0d7809851ee10083a0ce710b54334b0bc4474cef3ce1eb296fa1c6d`。

```text
Create a sophisticated hand-drawn tourist-souvenir illustration for INNER MONGOLIA, combining steppe travel and tea hospitality. Match the supplied successful flat souvenir drawing's confident medium outlines, irregular large object sizes, spare explanatory detail and selective flat colour. Borrow the drawing method only, never the reference's geography or lettering. This is an original flat wrap, not a photograph or product mockup.

Native transparent PNG RGBA, 3840 x 1280 pixels. All artwork fits fully inside x=100..3740 and y=130..1150, suitable for final 3840 x 1152 pixels and 250 x 75 mm. Genuine zero-alpha background and open interiors throughout. No paper or ceramic texture, white fill, rectangular backdrop, photographic shading, cast shadows, hazy pigment, gradient or translucent smudge. Every main contour is a clear uninterrupted 5–7 pixel pen line, gently irregular but sharply resolved. Interior details are sparse and equally clean. Use only navy #204D6D, ochre #BE923B and steppe green #7B984A. Navy draws outlines; ochre and green fill selected garment, saddle, door and vessel details. Leave most interior surfaces unfilled alpha. No grain or distressed printing.

Build EIGHT large unequal scenes that nest into one another with a lively rhythm, like a beautiful illustrated travel journal wrapped around a cup. The only lettering is INNER MONGOLIA, once, in large friendly upright hand-lettered capitals, with every letter complete. No small labels, numbers, Chinese script, logos or ornamental pseudo-text.

1. The dominant centre-left scene is a Mongolian host raising a long ladle above a generous metal cauldron. A single flowing arc of milk tea returns to the vessel. Draw the face, hands and ladle cleanly, without miniature jewellery or fabric patterns.
2. Near the cauldron, a clear milk jug and two bowls form one medium still life. One bowl is offered by an outstretched hand; add a small dish of toasted grain as simple oval marks, not noise.
3. A complete round yurt, with a single open door and a guest being welcomed, sits at the left. Keep the roof, base and people entirely visible. One simple geometric door stripe is enough.
4. A low tea-trade table with one compressed rectangular tea brick, a knife resting beside it, a scoop and two neatly wrapped imported tea parcels. Draw the brick with six short hatch strokes, not a fuzzy carpet.
5. One Hohhot-style merchant gate with a balance scale suspended in its open arch; the weight pans and rope knots are clear.
6. A loaded two-humped Bactrian camel beside a tall golden poplar. Both are confident complete silhouettes, with a few saddle lines.
7. Two energetic horses and a small stone ovoo with one pennant form a taller eastern counterpoint; use just five large stones, no dense rocky mass.
8. A shallow lake contour, one pine and one deer quietly close the right end. The lake is three clean open curves, never a filled patch of water.

Vary their size and height. Let the ladle arc, gate opening, yurt roof and horse movement answer each other; avoid a rigid grid or a full landscape horizon. Tea preparation and hospitality occupy roughly half the illustrated subject matter. This region consumes imported tea: no local Camellia plantation and no invented healing claim. Aim for crisp, charming, expressive marks that remain beautiful on a real small ceramic object. No blurred ends, tiny landscapes or smoky bridges between the scenes.
```