东方武侠浮世绘金庸人物志

[Character] Fill in a Jin Yong character
[Core Move] Fill in a representative martial arts move or action
[Visual Anchor] Fill in weapons, divine beasts, palm gestures, long hair, giant waves, etc.
[Environment] Fill in cliffs, bamboo forests, waves, wilderness, etc.
[Main Color Palette] Fill in 3–5 main colors
[Inscribed Label] Fill in character name and move name

Create a 9:16 vertical Oriental martial arts Ukiyo-e character painting. Redesign the scene around [Character] and [Core Move], without referring to any film/television actor's face or specific film/television styles.

The character must be in a moment of intense action, letting the [Core Move] directly participate in the composition. Use [Visual Anchor], body twists, weapons, palm gestures, robes, hair, or environmental dynamics to form clear large diagonals, C-shaped or S-shaped curves, and strong perspective relationships. The character occupies the main area of the frame, allowing parts to naturally extend out of the frame, ensuring the character and move are quickly identifiable even in a thumbnail.

The overall style adopts the strong language of traditional Ukiyo-e Mushae and multi-color woodblock printing: powerful black carved outlines, exaggerated human perspective, large flat color planes, compact character composition, and a distinct handmade woodcut feel. Maintain a rough style with a sense of paper and ink, and a sense of printing; do not process it into overly smooth modern digital illustrations.

Use [Main Color Palette] for colors; large color planes should remain complete and full, but allow for slight natural uneven inking and a handmade feel in the color registration. Textures must follow material changes: skin is expressed with complete skin-tone color planes and a small amount of structural lines; robes are expressed with large color blocks and long folds; hair, feathers, wave patterns, and clouds use directional continuous line bundles; rocks can retain more obvious rough woodcut textures. Avoid covering skin, clothes, weapons, and the background entirely with the same uniform dotted, flocculent, or short-stroke textures.

The background uses [Environment], maintaining a lower information density than the character, with large areas of warm ivory paper preserved, making the character, moves, and visual anchors the subject. The paper retains only slight natural fibers and ancient printing textures, without using heavy yellow spots, damage, or global aging filters.

Add traditional vertical labels, small annotations, and 1–2 vermilion seals at the edges of the frame. Labels use [Inscribed Label], naturally integrating into the borders of the ancient painting; do not use modern large titles, numbering, or UI decorations.

The final effect should be like a Mushae from the same set of "Jin Yong's World Character Collection": clear character identity, moves becoming the core of the composition, strong dynamics, strong shapes, and high recognizability, while retaining the unique woodcut lines, color blocks, and paper-ink texture of traditional Ukiyo-e.

Avoid: film/television actor faces, specific film/television costumes, idol-style beautiful faces, xianxia mobile game illustrations, anime feel, 3D rendering, photographic texture, neon light effects, magic circles, excessive CG special effects, standard standing poses, modern typography, uniform dot noise, full-screen short-stroke patterns, global grain coverage, random cracks, overly smooth digital flat painting, watermarks, numbering.