纯艺术与传统绘画Fine Art & Traditional Painting
载色体决定一切下游属性——干燥速度（→能否湿接）、干燥后透明度（→能否叠色）、黏度（→能否厚涂）。三大闭源模型对每种媒介的"视觉指纹"（油的慢干可融合、水彩的透明扩散、蛋彩的亚光细密、蜡画的厚重哑光）已深度学习；点对载色体等于一次锁定整张画的物理逻辑。这是本领域区别于数字插画的根轴。
闭源人话 · `An oil painting where the pigment is bound in linseed oil and built up in translucent layers — NOT a watercolor; the surface should show the slow, blendable, slow-drying quality of oil.` 显式做正向对比（NOT watercolor）+ 描述慢干可融合的油性特征，比单写 `oil painting` 更精准锁定载色体。
技法动词 = 画面的身体动作。`painterly` 是无效模糊词；说 impasto / glazing / scumbling / alla prima / drybrush 才能锁定模型对"颜料物理行为"的理解。一个技法词往往连带决定边缘质量、厚薄、干燥痕。这是把"画感"从模糊变可控的关键维度。
闭源人话 · `Paint applied with a palette knife in heavy impasto — thick ridges of paint that catch side light — combined with scumbled semi-opaque passages in the sky.` 命名具体工具 + 稳定技法，触发比形容词（moody/dramatic）更稳的视觉指纹。
边缘质量是区分"数字平涂"与"手工绘画"的核心信号。模型对 lost/found edge、broken color、calligraphic 与 blended 的差异有明确响应。指定笔触长度、方向性、边缘软硬，直接控制画面的"手感"与松紧节奏。
闭源人话 · `Visible calligraphic brushwork with a mix of hard and lost edges — the silhouette dissolves into the background along the shadow side (lost edge), while the lit edge stays crisp.` lost edge（阴影侧轮廓溶于背景）是强物理概念，模型通常能还原；个别极柔过渡可能需参考图佐证。
底材的"齿"（tooth）与吸水/吸油性决定颜料如何附着——粗纹画布抓颜料造肌理、宣纸吸水让墨晕染、热压纸给水彩锐边。"底子色"（ground）透出笔缝会统一色调。模型能区分亚麻布纹、木纹、宣纸晕化、湿壁画矿物质感。指定底材是把"质感"坐实到物理基底。
闭源人话 · `Painted on a coarse linen canvas with a warm burnt-sienna imprimatura ground showing through the gaps between strokes.` imprimatura（色调底子层）为正确术语，burnt sienna 为常用底色颜料。
这是"画面看起来像真颜料"而非"贴了油画滤镜"的终极判据。光学混色（点彩）、罩染纵深、厚涂反光、水痕扩散——每种都是光的物理行为。模型对"光如何从颜料层反射"有强先验，明说能避免塑料感/数字感。
闭源人话 · `Optical mixing through small adjacent strokes of unmixed complementary color, so the blending happens in the viewer's eye rather than on the palette; highlights are pure impasto that catch the raking light.` **caveat**：光学混色（眼里调和）是观者侧光学现象，数字图只能近似这种点彩并置效果——建议同时给参考图。impasto 高光抓光可靠。
流派 = 一整套已被验证的视觉语法（用光、用色、题材、构图倾向）。命名一个 -ism 比从零描述更可控，因为模型见过海量该流派样本。**注意：只承诺一个主流派 + 至多一个修饰词，堆多个流派会让模型糊成中性"画感"。**
闭源人话 · `Committed to a single movement: a 17th-century Dutch Baroque still life with tenebrist lighting — one strong source from the upper left, deep transparent shadows, warm ochre and burnt-umber palette.` 命名单一历史流派 + 时代 + tenebrist 光源方向 + 暖色谱，比泛指 `Dutch` 更精准。
水墨领域没有"色彩"维度，取而代之是墨的浓淡梯度与留白比例——这是该子领域最关键的轴。"五墨"层次、泼墨、皴法（cunfa 表现山石质感的笔法）、留白位置直接决定一张水墨是否成立。通用色彩维度在此失效，必须切换到墨色逻辑。
闭源人话 · `Ink ranging from deep black through five graded tones to a pale wash, with large unpainted yohaku at the top to suggest mist and distance.` **双语并写更稳**：`sumi-e（水墨画），墨分五色（five graded ink tones），顶部大面积留白 yohaku。` 冷门日文术语跨模型命中率不如中文，双语提高还原稳定性。
版画是"转印"逻辑而非"直接涂绘"：每种版种有独有指纹（凸版的黑白块面、凹版的细线 + 版痕、平版的蜡笔颗粒、丝网的平涂色块）。说清版种与制版（套色块数、registration、edition、plate mark）才能让模型产出"像真版画"而非"像版画滤镜"。
闭源人话 · `An intaglio etching: ink pulled from recessed lines bitten into a copper plate, leaving a visible plate mark embossed into the damp paper around the image; fine acid-bitten cross-hatching for tone.` **caveat**：embossed plate mark on damp paper 是纸张物理凸痕，属 3D/材质效果，平面数字图大概率只能近似压痕而非真实立体——制版逻辑描述有效，但压痕保真建议参考图佐证。
古典油画的纵深感来自正确的层叠次序（肥盖瘦、单色底→罩色）。模型对"底层透出"的视觉逻辑有响应——指定 underpainting 色与层叠逻辑，能让画面获得古典大师那种"光从颜料层深处透出"的质感，这是单层涂抹做不到的。
闭源人话 · `Built over a monochrome burnt-umber underpainting, following fat-over-lean: lean detail layers first, then increasingly oily transparent glazes for depth; grisaille block-in first, color glazed on top.`
工具直接决定笔迹形态（貂毛的细锐、鬃刷的肌理、刀片的平刮、墨笔的提按变化）。媒介剂（亚麻仁油、松节油、蜂蜡、蛋黄）控制黏度与干燥。点名工具与媒介剂，能把"画面笔触的物理来源"坐实，避免泛泛的 `brush strokes`。
闭源人话 · `Executed with stiff hog-bristle brushes for the textured passages and a sable round for fine glazes; the medium is a lean mix of linseed oil and a little solvent, giving slow, blendable strokes.`