当代东方人文艺术展览海报生成指令

[Subject]: Fill in the subject, such as Tree Annals, Rain Sequence, Vessel Language, Paper Space [Chinese Title]: Fill in 2–4 characters [English Title]: Fill in the English title [Main Visual Right-Bottom]: Fill in core natural or humanistic materials, such as annual rings, pottery, handmade paper sheets, water-surface vessels [Middle Vertical Element]: Fill in translucent paper, tulle, rain curtain, plant shadows, blurred hand movements, etc. [Archive Object Top-Right]: Fill in small real objects like plant specimens, pottery shards, stones, paper fragments, etc. [Subject Slogan]: Fill in a short sentence about time, material, memory, or people [Main Color Tone]: Fill in low-saturation natural colors, default warm ivory rice white, taupe, light ocher, gray-green, ink brown [Aspect Ratio]: 9:16 Generate a contemporary Eastern humanistic art exhibition poster, overall blending Eastern natural aesthetics, material archives, independent art magazines, and modern Editorial Design. The image is quiet, restrained, and elegant, with a clear sense of paper and humanistic temperament, not doing traditional national trend, nor doing commercial advertising posters. Strictly maintain a fixed layout structure: Place a clearly enlarged [Main Visual Right-Bottom] in the bottom right corner of the image, about 50%–60%, the subject must be naturally cropped by the right side or the bottom, forming a strong large-scale visual anchor; add a [Middle Vertical Element] hanging from the top on the middle-left side, about 20%–25% of the image width, keep it translucent, low contrast, and material-oriented, inside which plant, hand shadow, texture, text traces, or natural marks can vaguely appear, but cannot overpower the main visual. The left side of the image retains a large area of warm rice white blank space, vertically arranging [Chinese Title], using slender, elongated modern Songti or high-end Chinese Serif with Eastern skeletons, not using huge brush calligraphy. Below the Chinese title, add [English Title], using elegant and slender English Serif Typography, and add a small number of subject slogans and extremely small editorial information. The top-left, top-right, and bottom-left form a fixed small information system: the top-left puts series identity or exhibition category; the top-right puts a very small [Archive Object Top-Right] and 2–3 extremely small English keywords; the bottom-left puts date, venue, or exhibition description. Small characters only bear editorial texture, do not fill the screen, and do not generate a large amount of meaningless English. Background uses clean and warm ivory rice white high-end art paper, only retaining slight natural paper fibers, fine particles, and Offset Print printing texture. The overall color scheme adopts [Main Color Tone], low saturation, soft, and matte, not using pure black and white, high saturation gradients, or commercial bright colors. Real materials must retain clear tactile sense, such as wood grain, paper fiber, pottery clay spiral patterns, water ripples, plant leaf veins, fabric textures, or stone surfaces, but do not over-sharpen, HDR, or CGI. Seen from afar, the image relies on 'Left Title + Middle Vertical Structure + Right-Bottom Huge Main Visual' to hold up; only when looking closely do you gradually discover material details, small archive objects, and micro-text. The final effect should be like an Eastern humanistic exhibition poster that truly exists in contemporary art museums, cultural institutions, or independent art publications, so that each work has a clear theme and meaning, rather than a templated placeholder design.