Gongbi Deities and Sacred Companions
Long continuous outlines, stable mineral-colored areas and complete ornamental patterns unify twenty deity illustrations. Replace the character, companion, object, pose and palette while preserving clear subject hierarchy, clean warm xuan paper, traditional inscriptions and three to five vermilion seals.
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【神明身份】：文殊菩萨 / 广目天王 / 金刚力士 / 普贤菩萨 / 其他神祇
【神兽 / 法器】：青狮 / 赤龙 / 金刚杵 / 六牙白象 / 其他
【核心动作】：端坐御兽 / 镇立 / 踏云 / 环绕 / 持法器
【主色调】：石青、苍绿、朱砂、旧金、墨青、象牙白
【构图方式】：上下双主体 / S 型环绕 / 正面镇压 / 斜向动势
【整体气质】：庄严、神圣、威猛、怪异、肃穆
【画幅比例】：9:16
生成一张东方神明工笔重彩圣像插画，以【神明身份】为核心主体，并结合【神兽 / 法器】建立完整、清晰、有力量的构图关系。人物、神兽、法器、披帛和云气共同形成明确的视觉“势”，但主体层级必须清楚，避免所有元素同时抢画面。
整体融合中国传统神像画、工笔重彩、白描线刻与古籍圣像图卷气质。人物法相庄严、有神性和压迫感，服饰采用完整传统神袍、甲胄、冠饰与璎珞体系，纹样以云纹、鳞纹、回纹、卷草纹、莲纹、兽面纹等为主。
重点保持“高连续性工笔线描”：人物头发、胡须、神兽毛发、龙鬃、羽毛等必须顺着自然生长和体积方向，以长而柔顺、连续稳定的线条塑形；披帛、衣袂、龙身、象鼻和云气采用完整的 S 型、C 型大曲线，从起点到收尾清楚连贯。减少微碎纹理，不使用随机短线、密集断点、锯齿毛发、噪声式刻线或无意义的小纹样。
甲胄、头冠、服饰和神兽装饰纹样要“少而完整”，优先使用完整闭合的大型纹样与连续边饰。复杂感来自清晰的结构层级，而不是大量微型碎纹。
色彩采用低饱和但饱满、均匀、连续的传统矿物重彩，以【主色调】为核心。石青、石绿、墨青、旧金、铜金、朱砂、赭红、象牙白等颜色形成明确大色块，同一区域色彩稳定完整，深浅变化跟随结构自然过渡。避免随机斑驳、褪色、污渍、颗粒、做旧和色块不均。
背景使用干净温润的暖象牙色宣纸，只保留极轻天然纸纤维，大面积留白，配少量连续线描云气。古意来自工笔线条、矿物设色、宣纸、书法题跋和朱印，不依赖人工做旧。
画面必须加入传统古画题跋体系：一列中等大小神明名称、一列较小副题、少量细题跋，以及 3–5 枚大小错落的朱红印章。文字属于画面结构的一部分，但不能压过人物和神兽，也不要做成现代海报式大标题。
整体遵循“主体高密、背景低密”的原则：人物面部、神兽头部、法器与核心甲胄区域细节最丰富；大块衣袍和神兽身体保持中等密度；云气与宣纸背景最疏。English
[Deity Identity]: Manjushri Bodhisattva / Wide-Eyed Heavenly King / Vajra Guardian / Samantabhadra Bodhisattva / Other Deity
[Divine Beast / Ritual Implement]: Azure Lion / Red Dragon / Vajra / Six-Tusked White Elephant / Other
[Core Action]: Sit Upright and Command the Beast / Stand Imposingly / Step on Clouds / Encircle / Hold a Ritual Implement
[Main Color Palette]: Azurite Blue, Dusky Green, Cinnabar, Old Gold, Inky Blue-Green, Ivory White
[Composition]: Two Subjects Arranged Above and Below / S-Shaped Encircling / Frontal Dominance / Diagonal Momentum
[Overall Character]: Majestic, Sacred, Fierce, Strange, Solemn
[Aspect Ratio]: 9:16
Generate one Eastern deity icon illustration in gongbi with rich colors, using [Deity Identity] as the core subject and combining it with [Divine Beast / Ritual Implement] to establish a complete, clear, powerful compositional relationship. The figure, divine beast, ritual implements, flowing silk scarves, and cloud vapors should together form a distinct visual “momentum,” but the subject hierarchy must remain clear; avoid having every element compete for attention at the same time.
Combine the character of traditional Chinese deity paintings, richly colored gongbi painting, uncolored outline drawing and line engraving, and sacred-image scrolls from ancient books. The figure’s sacred form should be majestic, divine, and overpowering, with a complete traditional system of deity robes, armor, headdresses, and jeweled necklaces; the main motifs should include clouds, scales, fret patterns, scrolling foliage, lotuses, and animal masks.
Focus on maintaining “highly continuous gongbi line drawing”: the figure’s hair and beard, the divine beast’s fur, the dragon’s mane, feathers, and similar elements must follow their natural growth and the directions of their three-dimensional forms, shaping them with long, smooth, continuous, steady lines; flowing silk scarves, sleeves, the dragon’s body, the elephant’s trunk, and cloud vapors should use complete, large S-shaped and C-shaped curves, clearly connected from beginning to end. Reduce tiny fragmented textures; do not use random short lines, closely packed breaks, jagged fur, noise-like engraved lines, or meaningless small motifs.
Decorative motifs on the armor, crown, clothing, and divine beast should be “few and complete,” prioritizing complete, closed, large motifs and continuous borders. Complexity should come from a clear structural hierarchy rather than large quantities of tiny fragmented patterns.
Use traditional rich mineral colors with low saturation that are nonetheless full, even, and continuous, centered on [Main Color Palette]. Colors such as azurite blue, malachite green, inky blue-green, old gold, copper-gold, cinnabar, ochre red, and ivory white should form clear, large color blocks; color within each area should remain stable and complete, with light-to-dark transitions naturally following the structure. Avoid random mottling, fading, stains, granules, artificial aging, and uneven color blocks.
Use clean, soft-toned xuan paper in warm ivory for the background, retaining only extremely subtle natural paper fibers, with large areas of blank space and a small amount of cloud vapor drawn in continuous lines. The sense of antiquity should come from gongbi lines, mineral coloring, xuan paper, calligraphic inscriptions, and vermilion seals; it should not rely on artificial aging.
The image must include a traditional inscription system from classical paintings: one column of the deity’s name in medium-sized lettering, one column of a smaller subtitle, a few fine inscriptions, and 3–5 vermilion seals in varied sizes and staggered positions. Text is part of the image’s structure, but it must not overpower the figure and divine beast, and it should not become a large modern poster-style title.
Follow the principle of “high density in the main subject, low density in the background”: the figure’s face, the divine beast’s head, the ritual implements, and the core armor areas should contain the richest detail; large areas of robes and the divine beast’s body should maintain medium density; cloud vapors and the xuan-paper background should be the sparsest.