中国传统工笔重彩神明挂轴模板

【Deity】:
【Mount / Divine Beast】:
【Core Artifact】:
【Figure Pose】:
【Main Color Tone】:
【Inscription】:
【Aspect Ratio】: 9:16

Generate a traditional Chinese Gongbi heavy-color deity hanging scroll, with 【Deity】 as the absolute main visual, which can be paired with a 【Mount / Divine Beast】 or a 【Core Artifact】, with the figure and core elements occupying about 70%–80% of the frame. The composition emphasizes a single deity dominating the scene, without adding multi-person groups or complex large scenes, allowing the characters, mounts, and artifacts to form clear large shapes and visual momentum.

The overall pursuit is a true sense of handmade Gongbi coloring, rather than modern digital national-style illustrations. The character's face has the temperament of an ancient painted deity statue, with clear whites of the eyes, concentrated pupils, and a majestic and restrained expression, avoiding anime faces, influencer faces, or game character faces. Hair, beards, and divine beast fur are shaped with bundled, continuous long brush lines growing along the volume, with lines showing natural pressure changes, thickness variations, and tapered ends, clear but not stiff.

Do not use pure black, extremely thin, or extremely sharp manga outlines for the line work. Use ink-brown, blue-ink-brown, or warm-gray-ink for the main outlines of the characters; use light ochre-ink for the face and hands; and gradually reduce the line weight for clothing folds, hair, and clouds. Lines are used to hold the color, rather than pressing down on the color surface, allowing the screen to present complete coloring first, followed by delicate brush lines.

The colors adopt low-saturation but full and uniform traditional mineral heavy colors, with 【Main Color Tone】 as the core, which can be paired with stone azure, stone green, cinnabar, ochre red, old gold, ivory white, ink gray, and other colors. The coloring presents a sense of layering with light color base, separate dyeing, top dyeing, and accumulated color. The main color in the same area is stable and complete, without using digital flat painting, high-contrast hard color blocks, or random mottled textures.

Details of clothing, armor, crowns, and artifacts are rich but restrained: first establish a complete structure, then add a small amount of traditional patterns such as cloud patterns, fret patterns, lotus patterns, and scale patterns. Do not fill the inside of all armor plates, robes, and decorative pieces with micro-patterns. The sense of complexity comes from structural hierarchy, not the number of fragmented patterns.

Flexible elements such as ribbons, sleeves, beards, tails, and clouds retain only a few main trends, forming complete S-shaped and C-shaped long curves; artifacts maintain a complete, clear, and continuous structure from beginning to end, becoming a stable hard axis in the picture.

The background uses clean, warm, and neutral warm ivory-colored ripe Xuan paper, retaining only extremely light natural paper fibers, a small amount of light blue-gray cloud gas, and sufficient white space. Do not paint yellower and yellower, do not use creamy yellow, earthy yellow, or brownish-yellow old photo filters, and do not use a deathly white background. Ancient charm comes from brushes, colors, paper, and characters, not from dirt, cracks, fading, and graininess.

The image includes a complete ancient painting colophon system: use 【Inscription】 as the main title, paired with smaller subtitles, a small number of vertical colophons, and 3–5 staggered cinnabar seals of various sizes. The calligraphy has natural brush pressure changes and is not modern poster-style huge Typography.

The overall effect is like a Gongbi heavy-color deity painting truly completed by a painter on ripe Xuan paper with brush outlines and layers of mineral pigments: stable large shapes, prominent characters, smooth hair, warm lines, full colors, and clean paper surface, elegant but not faded, fine but not digital.

Avoid: multi-person groups, complex scenes, pure black hard outlines, extremely thin manga lines, vector outlines, automatic smoothing lines, digital flat painting, dense short fur, random gold powder dots, micro-fragmented textures, mottled fading, artificial aging, over-yellowed paper, anime faces, xianxia illustrations, game concept art, CG highlights, plastic metal, glowing artifacts, full-screen special effects.

【神明】：
【坐骑 / 神兽】：
【核心法器】：
【人物姿态】：
【主色调】：
【题字】：
【画幅比例】：9:16

生成一幅中国传统工笔重彩神明挂轴，以【神明】作为绝对主视觉，可搭配【坐骑 / 神兽】或一件【核心法器】，人物与核心元素占据画面约 70%–80%。构图强调单神压场，不加入多人群像或复杂大场景，让人物、坐骑与法器形成清晰的大形和视觉动势。

整体追求真正的手工工笔设色感，而不是现代数位国风立绘。人物面容具有古画神像气质，眼白清楚、瞳仁集中、神态威严克制，不做动漫脸、网红脸或游戏角色脸。头发、胡须、神兽毛发以成束、连续、顺着体积生长的毛笔长线塑形，线条有自然提按、粗细变化和收锋，清楚但不生硬。

勾线不要使用纯黑、极细、极锐的漫画描边。人物主轮廓使用墨褐、青墨褐、暖灰墨；面部与手部使用淡赭墨；衣纹、毛发与云气逐级减轻线权。线条用于托住颜色，而不是压住色面，让画面先呈现完整设色，再看到细腻笔线。

色彩采用低饱和但饱满、均匀的传统矿物重彩，以【主色调】为核心，可搭配石青、石绿、朱砂、赭红、旧金、象牙白、墨灰等颜色。设色呈现淡色打底、分染、罩染、积色的层次感，同一区域主色稳定完整，不使用数字平涂、高反差硬色块或随机斑驳纹理。

服饰、甲胄、冠饰和法器细节丰富但克制：先建立完整结构，再加入少量云纹、回纹、莲纹、鳞纹等传统纹样。不要在所有甲片、衣袍和饰件内部堆满微型花纹。复杂感来自结构层级，而不是碎纹数量。

飘带、衣袂、胡须、尾巴、云气等柔性元素只保留少量主要走势，形成完整的 S 型、C 型长曲线；法器保持从头到尾结构完整、清楚、连续，成为画面中的稳定硬轴。

背景使用干净温润、偏中性的暖象牙色熟宣纸，只保留极轻天然纸纤维、少量淡青灰云气和充分留白。不要越画越黄，不要奶黄、土黄、棕黄旧照片滤镜，也不要惨白背景。古意来自笔、色、纸、字，而不是脏旧、裂纹、褪色和颗粒。

画面加入完整古画题跋系统：使用【题字】作为主标题，搭配较小副题、少量竖排题跋及 3–5 枚大小错落的朱红印章。书法具有自然毛笔提按，不做现代海报式巨大 Typography。

整体效果像真正由画师在熟宣纸上以毛笔勾线、矿物颜料层层敷染完成的工笔重彩神明画：大形稳定、人物突出、毛发柔顺、线条温润、颜色饱满、纸面干净，古雅但不褪色，精细但不数字化。

避免：多人群像、复杂场景、纯黑硬描边、极细漫画线、矢量轮廓线、自动平滑线、数字平涂、密集短毛、随机金粉点、微碎纹理、斑驳褪色、人工做旧、过黄纸张、动漫脸、仙侠立绘、游戏概念图、CG高光、塑料金属、发光法器、满屏特效。