{"id":"32047","prompt":"Create a vertical traditional Chinese Gongbi heavy color painting of a lady, with a 4:5 aspect ratio. \nThe subject is a young Han Chinese lady, shown in full, standing three-quarters profile near a quiet classical garden gallery; her posture is dignified and slender, head slightly bowed, right hand gently holding a branch of budding crabapple, and left hand subtly tucked within her long sleeve, with a quiet, gentle, and restrained expression. Light eyebrows, a small straight nose, and vermilion cherry lips, with skin tone represented in the fair and rosy manner of traditional lady paintings. Jet-black long hair is styled in an elegant ancient Chinese bun, adorned with gilded flower pins, pearl tassels, and jade hairpins; each piece of jewelry is clearly structured with precise patterns, magnificent but not cluttered. \nThe lady wears layered Hanfu: a stone-blue cross-collar upper garment, an ochre-red high-waisted long skirt, and an ivory-white shawl; the collar, cuffs, and skirt are densely covered with lotus vines, flower-and-bird sprays, and Ruyi cloud patterns, outlined with fine gold thread. The silk folds are smooth, the brocade patterns complex and clear, and the ribbons and shawl form a gentle S-shape rhythm. The background includes Taihu rocks, emerald green plantains, blooming peonies, scattered petals, vermilion railings, and a hazy moon gate in the distance, using well-spaced garden scenery to complement the figure without being overwhelming. \nAdopt orthodox Chinese Gongbi techniques: use fine, even, and elastic iron-wire and gossamer strokes to precisely outline the face, hair, fingers, clothing folds, flowers, leaves, and jewelry; multiple layers of staining, covering, flat coating, and re-outlining result in thick yet clear color layers. Predominantly use stone blue, stone green, cinnabar, ochre, rouge, clam powder, and liquid gold, with some local gold-pasting; the balance of green, red, ivory white, and soft gold creates an elegant, quiet, and noble color scheme, saturated but not glaring. The cooked silk base is warm and slightly aged, retaining fine silk texture and hand-painted traces. Soft and even scattered light, weak shading, clear outlines, maintaining the flatness, decorativeness, and subtle sense of space of traditional painting. \nThe composition is like a complete ancient vertical scroll lady painting, with the figure occupying about two-thirds of the height, a clear visual center, restrained white space, and an elegant correspondence between the figure, flowers, and architecture. Facial features, hands, and fingers must be natural and complete, clothing layers clear, line work precise and stable, and tiny patterns still recognizable. \nThe overall work must present authentic hand-painted Gongbi and classical silk texture; no photographic realism, no modern fashion, no anime faces, no thick oil impasto, no watercolor washes, no 3D or plastic texture, no strong cinematic light, no exaggerated depth of field, and no text, inscriptions, watermarks, or identifiable seals.","promptEn":"Create a vertical traditional Chinese Gongbi heavy color painting of a lady, with a 4:5 aspect ratio. \nThe subject is a young Han Chinese lady, shown in full, standing three-quarters profile near a quiet classical garden gallery; her posture is dignified and slender, head slightly bowed, right hand gently holding a branch of budding crabapple, and left hand subtly tucked within her long sleeve, with a quiet, gentle, and restrained expression. Light eyebrows, a small straight nose, and vermilion cherry lips, with skin tone represented in the fair and rosy manner of traditional lady paintings. Jet-black long hair is styled in an elegant ancient Chinese bun, adorned with gilded flower pins, pearl tassels, and jade hairpins; each piece of jewelry is clearly structured with precise patterns, magnificent but not cluttered. \nThe lady wears layered Hanfu: a stone-blue cross-collar upper garment, an ochre-red high-waisted long skirt, and an ivory-white shawl; the collar, cuffs, and skirt are densely covered with lotus vines, flower-and-bird sprays, and Ruyi cloud patterns, outlined with fine gold thread. The silk folds are smooth, the brocade patterns complex and clear, and the ribbons and shawl form a gentle S-shape rhythm. The background includes Taihu rocks, emerald green plantains, blooming peonies, scattered petals, vermilion railings, and a hazy moon gate in the distance, using well-spaced garden scenery to complement the figure without being overwhelming. \nAdopt orthodox Chinese Gongbi techniques: use fine, even, and elastic iron-wire and gossamer strokes to precisely outline the face, hair, fingers, clothing folds, flowers, leaves, and jewelry; multiple layers of staining, covering, flat coating, and re-outlining result in thick yet clear color layers. Predominantly use stone blue, stone green, cinnabar, ochre, rouge, clam powder, and liquid gold, with some local gold-pasting; the balance of green, red, ivory white, and soft gold creates an elegant, quiet, and noble color scheme, saturated but not glaring. The cooked silk base is warm and slightly aged, retaining fine silk texture and hand-painted traces. Soft and even scattered light, weak shading, clear outlines, maintaining the flatness, decorativeness, and subtle sense of space of traditional painting. \nThe composition is like a complete ancient vertical scroll lady painting, with the figure occupying about two-thirds of the height, a clear visual center, restrained white space, and an elegant correspondence between the figure, flowers, and architecture. Facial features, hands, and fingers must be natural and complete, clothing layers clear, line work precise and stable, and tiny patterns still recognizable. \nThe overall work must present authentic hand-painted Gongbi and classical silk texture; no photographic realism, no modern fashion, no anime faces, no thick oil impasto, no watercolor washes, no 3D or plastic texture, no strong cinematic light, no exaggerated depth of field, and no text, inscriptions, watermarks, or identifiable seals.","promptZh":"创作一幅竖构图的中国传统工笔重彩仕女画，比例为 4:5。主体是一位年轻的 汉族 仕女，全身像，以三分之二侧面站立在静谧古典园林的曲廊旁。她姿态端庄修长，微微低头，右手轻持一朵 海棠花苞，左手轻拢于长袖之中，神情静谧、温婉而内敛。细眉、小直鼻、朱唇；肤色呈现传统仕女画中白里透红的质感。黑发梳成优雅的中国古代发髻，饰有鎏金发簪、珍珠流苏和玉簪；每件首饰结构清晰、纹样精准，华丽而不杂乱。仕女身着层叠的汉服：一件 石青色 交领上衣，一条 赭红色 高腰长裙，以及一条象牙白色的系带。领缘、袖口和裙幅上密布莲花缠枝、花鸟和如意云纹，并以细金线勾勒。丝绸褶皱流畅，锦缎纹样复杂清晰，腰带和系带形成柔和的 S 型韵律。背景包含太湖石、芭蕉叶、盛开的牡丹、飘落的花瓣、朱红漆栏杆以及远处朦胧的月洞门，以园林景观衬托人物，而不喧宾夺主。采用正统中国工笔重彩技法：以细匀且富有弹性的铁线描和游丝描精准勾勒面部、发丝、手指、衣褶、花卉、叶片及首饰；通过多层渲染、罩染、平涂及复勾，营造出厚重而清晰的色彩层次。以石青、石绿、朱砂、赭石、胭脂、蛤粉和泥金为基调，辅以少量贴金细节；青绿、朱红、象牙白与柔和的金彩平衡和谐，营造出庄重、沉静且典雅的色调，色彩饱和但不刺眼。背景绢本颜色温暖且带有轻微的陈旧感，保留细腻的绢丝纹理和手绘痕迹。柔和均匀的漫射光，弱化光影塑造，保持传统绘画平面的、装饰性的和微妙的空间感。构图如同完整的古代竖轴画，人物占据画面高度的三分之二，视觉中心明确，留白克制。五官、手部和手指必须自然完整，衣物层次清晰，线条精准稳定，微小的纹样依然清晰可辨。整体效果必须呈现真实的手绘工笔品质和古典绢本质感；拒绝照片写实、现代服装、动漫脸、油画厚涂、水彩晕染、3D 或塑料质感、强烈的电影光效、夸张的景深，以及文字和水印。"}