Original style prompt

Turn the theme’s central Chinese phrase into the dominant image rather than a caption: recognizable Han-character topology becomes a sweeping spatial event, carrying nearly all visual weight while tiny romanization, an English gloss, or numbering supplies measured pauses and a restrained editorial counterpoint. Keep the design within one bounded lettering family selected by the theme’s emotional temperature. For solemn or forceful content, build from a high-contrast Ming/Song display skeleton, compressing and elongating components into blade-like verticals, wedge terminals, and greatly extended hooks, left-falling and right-falling strokes. For airy or lyrical content, use a clean monoline handwritten skeleton with valid character construction, variable pen pressure, open turns, and long inter-character continuations that move like wind. In either branch, preserve legible counters and internal negative shapes, optically correct each center of gravity, and use selective breaks, shared strokes, and boundary-crossing extensions so continuity and closure maintain recognition while the lettering simultaneously forms silhouette, direction, and emotion. Set one dominant character group against a generous quiet field; organize the reading path along a strong horizontal current or an expansive arc, then nest secondary information lightly against stroke gaps, baselines, or outer edges. Let one or two long strokes escape the implied glyph frame and return the eye to the group, sustaining dynamic equilibrium through an extreme mass difference between display lettering and microtype. Build the palette around maximum value separation between luminous characters and either a near-black or warm paper-white field, with the theme determining whether the active tones become cool silver, soft white, restrained warm light, or clear black ink. On dark fields, the principal lettering may carry matte fibrous-paper silver with localized smooth tonal lift; on pale fields, use transparent black ink over broad untouched paper. Confine all material behavior to the glyph or ink layer and keep the surrounding field continuous, calm, and optically even. Reduce environmental imagery to a few theme-derived directional traces—fine arcs, breeze lines, small leaves, star points, birdlike marks, or one ink-wash gesture—grown from the trajectory of the main strokes, echoing their terminals and steering the eye without competing for semantic priority. Set microtype in a light high-contrast serif or delicate italic with wide tracking and low density, precisely opposing the immense scale and concentrated rhythm of the Chinese forms. Finish with crisp uninterrupted edges, controlled localized bloom, and exact hierarchy; every ornament must be caused by the motion of the lettering, so a new subject replaces the phrase, symbolism, color temperature, and linear attachments while the invariant first read remains monumental glyphs, escaped strokes, microtype pauses, and supporting emptiness.