东方诗意留白艺术海报提示词

[Original Poetry Sentence]: Fill in a line of ancient poetry with subtle emotions and imagery
[Two-Character Theme]: Extract 2 core characters from the poem
[Core Emotion]:
[Small Subject]:
[Main Color System]:
[Shallow Embossing]:
[Location and Date]:

Generate a 9:16 vertical Oriental poetic white space art poster, transforming the [Core Emotion] from the [Original Poetry Sentence] into a visible emotional state.

Use pure white or slightly cool-toned high-end handmade art paper as the background, preserving real paper fibers, pulp particles, and natural indentations. Maintain approximately 65%–75% effective white space; the main subject should not be too large, the [Small Subject] is suggested to occupy only about 8%–20% of the frame, letting the white space itself participate in expressing distance, waiting, memory, and a sense of incompleteness.

Do not directly replicate the complete scene from the poem, but instead choose a small and clear object as an emotional anchor, then express the emotional state through color changes, disappearance, accumulation, afterimages, or movement paths.

Add a low-contrast bas-relief [Shallow Embossing] related to the theme in the background. The embossing must not be just decorative, but must represent traces that once existed, are changing, or have not yet arrived, such as gradually rising old water levels, repeated misaligned butterfly wings, fading flower shadows, wing marks after flying, or wind lines extending into the distance. Keep it clean from afar, and only discover hidden information when looking closely.

Use [Main Color System] for colors, which can be vivid, beautiful, and emotional; do not use only black, white, and gray just because the theme is sad. Colors should naturally produce shade, fading, transparency, or dissipation relationships with distance, time, or state.

All water lines, silk threads, wind lines, rain marks, and movement trajectories must be continuous, soft, and natural, avoiding a large number of break points, fragmented lines, and messy AI textures.

Extremely small figures can be added, but they don't have to appear in every image. Figures are only used to establish scale and emotion; they do not cry or perform dramatic actions. Figures can also be completely removed, letting small subjects like flowers, rain, butterflies, or birds independently carry the narrative.

Use the [Two-Character Theme] for the main Chinese title, using modern Songti, Mingti, or editorial-style Chinese serif fonts. Design sense can be added through character spacing, slight misalignment, thin lines, or partial extensions, but the Chinese characters must be complete, accurate, and clear.

At the same time, add small font poetry lines, location, date, and a short English title.

The overall effect should be like a combination of classical poetry emotion, paper material experimentation, bas-relief art, and modern Editorial Design: concise with white space at first glance, seeing the subject at the second glance, and only discovering those "unfinished" traces when looking closely.

【诗词原句】：填写一句带有含蓄情绪与画面感的古诗词
【两字主题】：从诗句中提炼 2 个核心字
【核心情绪】：
【小主体】：
【主色体系】：
【浅压纹】：
【地点与日期】：

生成一张 9:16 竖版东方诗意留白艺术海报，将【诗词原句】中的【核心情绪】转化为一种可以被看见的情绪状态。

使用纯白或轻微冷调的高级手工艺术纸作为背景，保留真实纸纤维、纸浆颗粒和自然压痕。保持约 65%–75% 的有效留白，主体不要过大，【小主体】建议只占画面约 8%–20%，让空白本身参与表达距离、等待、记忆与未完成感。

不要直接复刻诗句中的完整场景，而是选择一个小而明确的物件作为情绪锚点，再通过颜色变化、消失、堆积、残影或运动路径表现情绪状态。

背景加入与主题有关的低对比浅浮雕【浅压纹】。压纹不能只是装饰，而要表现曾经存在、正在变化或尚未抵达的痕迹，例如逐渐上涨的旧水位、重复错位的蝶翼、褪色花影、飞过后的翼痕或延向远方的风线。远看保持干净，近看才发现隐藏的信息。

色彩使用【主色体系】，可以鲜明、漂亮、有情绪，不要因为主题忧伤就全部使用黑白灰。颜色应随着距离、时间或状态自然产生浓淡、褪色、透明或消散关系。

所有水线、丝线、风线、雨痕和运动轨迹必须连续、柔和、自然，避免大量断点、碎线和杂乱 AI 纹理。

可加入极小人物，但不是每张都必须出现。人物只用于建立尺度与情绪，不哭泣、不做戏剧化动作。也可以完全取消人物，让花、雨、蝶、鸟等小主体独立承担叙事。

中文主标题使用【两字主题】，采用现代宋体、明朝体或具有编辑感的中文衬线字体，可通过字距、轻微错位、细线或局部延伸增加设计感，但必须保证汉字完整、准确、清晰。

同时加入小字号诗句、地点、日期和简短英文标题。

整体效果应像古典诗词情绪、纸张材料实验、浅浮雕艺术与现代 Editorial Design 的结合：第一眼简洁、有留白，第二眼看到主体，近看才发现那些“没有说完”的痕迹。