Pôster de Arte Poética Chinesa

Generate 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, letting the blank space itself participate in expressing distance, waiting, memory, and a sense of incompletion. 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 trails left after flight, or wind lines extending into the distance. Clean at first glance, with hidden information revealed only upon closer inspection. Use the [primary color system] - colors can be vivid, beautiful, and emotional; do not default to black, white, or gray simply because the theme is melancholic. Colors should naturally develop relationships of intensity, fading, transparency, or dissipation with distance, time, or state. All water lines, silk threads, wind lines, rain marks, and motion trails must be continuous, soft, and natural, avoiding excessive broken points, fragmented strokes, or chaotic AI textures. Extremely small human figures may be included, but not required 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 style, or an editorial Chinese serif font. Design interest may be added through letter spacing, slight misalignment, thin lines, or partial extension, but the Chinese characters must remain complete, accurate, and legible. Also include small-size poem lines, location, date, and a brief English title. The overall effect should read as a fusion of classical poetic emotion, paper material experimentation, shallow relief art, and modern editorial design: simple with negative space at first glance, the subject revealed on second look, and the "unfinished" traces discovered only up close.