Cartel de Arte Poético Chino

Create a 9:16 vertical oriental poetic negative-space art poster, transforming the [core emotion] in the [original poem line] into a visible emotional state. Use pure white or slightly cool-toned premium handmade art paper as the background, preserving real paper fibers, pulp particles, and natural creases. Maintain approximately 65%–75% effective negative space; the main subject should not be oversized - the [small subject] is recommended to occupy only about 8%–20% of the frame, allowing the blank space itself to participate in expressing distance, waiting, memory, and a sense of incompleteness. Do not directly replicate the full scene from the poem line; instead, choose a small, specific object as the emotional anchor, then express the emotional state through color shifts, fading, accumulation, afterimages, or motion trails. Add low-contrast, shallow [embossed textures] related to the theme in the background. The embossing must not be merely decorative - it should convey traces of what once existed, is changing, or has not yet arrived, such as a gradually rising old waterline, repeated misaligned butterfly wings, faded flower shadows, wing marks left after flight, or wind lines extending into the distance. From afar, it should look clean; up close, hidden information emerges. Use the [primary color system] - colors can be vivid, beautiful, and emotionally charged; do not resort to all black, white, and gray just because the theme is melancholic. Colors should naturally develop density, fading, transparency, or dissipation in relation to distance, time, or state. All water lines, silk threads, wind lines, rain marks, and motion trails must be continuous, soft, and natural, avoiding large numbers of broken points, fragmented strokes, or chaotic AI textures. A tiny human figure may be included, but not necessarily in every piece. Figures are used only to establish scale and emotion - no crying, no dramatic gestures. Figures may also be omitted entirely, allowing small subjects such as flowers, rain, butterflies, or birds to carry the narrative independently. The Chinese main title uses a [two-character theme], set in a modern Song typeface, Ming typeface, or an editorial-style Chinese serif font. Design interest can be added through letter spacing, slight misalignment, fine lines, or partial extension, but the Chinese characters must remain complete, accurate, and legible. Also include a small-size poem line, location, date, and a brief English title. The overall effect should read as a fusion of classical poetic emotion, paper material experimentation, bas-relief art, and modern Editorial Design: clean with negative space at first glance, the subject visible on second look, and those "unfinished" traces discovered only up close.