Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed Expressionistic oil painting of poem number 77, Sutoku-in, of the Ogura Hyakunin Isshu: "Though a swift stream is / Divided by a boulder / In its headlong flow, / Though divided, on it rushes, / And at last unites again." A mighty rivver current rushes onward and is parted in the middle by a large boulder, almost the size of a small island. Behind the dark, craggy, wet boulder, the stream comes together again and continues onward. White froth gathers at the boulder as the river hits the obstacle. The water surface is most turbulent as the stream hits the boulder, turning smoother as it progresses past the boulder. The sky is clear and blue, the shore of the wild river is lined with pebbles and dense, green vegetation. Expressive primary colors, thick oil paint applied directly from the tube in splotches, and repetitive textures in the river. Strong symbolism, archetypical Expresssionism reminiscent of the German Expressionist painters August Macke and Ernst Ludwig Kirchner. Exquisite Japanese foilio.
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed oil painting of poem number 76, Hosshōji Nyūdō Saki no Kanpaku Daijōdaijin, of the Ogura Hyakunin Isshu: "Over the wide sea / As I sail and look around, / It appears to me / That the white waves, far away, / Are the ever shining sky." A small, one-man Japanese rowboat is sailing toward the horizon on a completely flat, calm sea. In the distance, the yellow-white clouds in the sky have the same color and texture as the small, low, calm, flat wave caps stretching along the entire horizon. Above the white-yellow clouds, the dawn sky is light blue, the same color as the ocean in front of the low, horizontal wave caps. Only the rowboat creats a speck of red-brown color on the sea. The sea and the sky fully merge at the horizon in texture and color, creating the illusion of infinity. Oil painting emulating the style of William Turner, the painter of light. Expressive coloring, with thick oil paint applied directly from the tube in splotches, and repetitive, calm textures. Breathtaking illusion of the sky and the sea melting together. Exquisite Japanese foilio.
Ogura Hyakunin Isshu No. 75 - Fujiwara no Mototoshi
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed vanitas-type oil painting of poem number 75, Fujiwara no Mototoshi, of the Ogura Hyakunin Isshu: "As dew promises / New life to the thirsty plant, / So did your vow to me. / Yet the year has passed away, / And autumn has come again." Dew richly covers a flowerbed of Japanese mugwort (Artemisia princeps), glittering and shimmering in the early morning sun, breaking the light into rainbow colors. The dew stands for a promise - which, alas, was later broken. But in this image, the hyperrealistic dewdrops, each reflecting and magnifying the leaves next to it, present a breathtaking spectacle. Painstakingly detailed, hyperrealistic oil painting in the technique of the old Dutch vanitas masters. The vanitas concept embraces the fleeting nature of life - like this soon to be broken proomise. Exquisite Japanese foilio.
Ogura Hyakunin Isshu No. 74 - Minamoto no Toshiyori Ason
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed linocut rendering of poem number 74, Minamoto no Toshiyori Ason, of the Ogura Hyakunin Isshu: "It was not for this / I prayed at the holy shrine: / That she would become / As pitiless and as cold / As the storms on Hase's hills." A modern-day Japanese traveler is coming down the mountain through a snowstorm, his staff in his hand and his cloak whipped about by the relentless wind. He is returning from pilgrimage, glum and unhappy. In heavy cloud cover, we see the image of a scornful face of a woman with piercing eyes looking at the traveler exposed to the brunt of the bad weather. Early winter ambiance, painstakingly detailed linocut, especially of the cloud cover with the scornful woman's face. Exquisite Japanese foili depicting unrequited love.
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed linocut rendering of poem number 73, Gonchūnagon Masafusa, of the Ogura Hyakunin Isshu: "On that far mountain / On the slope below the peak / Cherries are in flower. / Oh, let the mountain mists / Not arise to hide the scene." A profusion of double-flowering, old sakura cherry trees are in bloom on a mountain slope. A group of friends has come to celebrate a picnic at the bottom of the slope and to view the abundance of pink blossoms. While they are hoping the weather will hold, they have prepared for rising mist by wearing raincoats. Possible inclement weather aside, the time is perfect for cherry blossom viewing, as all trees are in full bloom. Painstakingly and masterfully executed contemporary linocut in several layers. Spring ambiance. Exquisite contemporary Japanese folio.
Ogura Hyakunin Isshu No. 72 - Yushi Naishinno-ke no Kii
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a heavy impasto acrylic painting of poem number 72, Yūshi Naishinnō-ke no Kii, of the Ogura Hyakunin Isshu: "Famous are the waves / That break on Takashi beach / In noisy arrogance. / If I should go near that shore, / I would only wet my sleeves." A pretty, young, teenage Japanese girl is walking along the beach, dressed in a bathing suit and a short, open, floral-patterned silk kimono in sumptuous colors as a cover-up. She is barefoot, and skipping away from a wave that threatens to lap her feet. The sun is shining brightly, and it is a beautiful day in summer. The sky is bright blue and cloudless. The young girl is alone, joyful and content on her lone beach walk. The beach is completely empty. Sand dunes are covered in dune vegetaion. Painstakingly and masterfully executed contemporary acrylic painting. Beach ambiance perfectly captured in quick, thick impasto brushstrokes.
Prompt: Full-screen, complete width, broad, 16:9 format of a wet-on-wet watercolor, diaphanous, transparent, of poem number 71, Dainagon Tsunenobu, of the Ogura Hyakunin Isshu: "When the evening comes, / From the rice leaves at my gate, / Gentle knocks are heard, / And, into my round rush-hut, / Enters autumn's roaming breeze." A round rush hut stands in a small garden, which is surrounded by a simple wooden fence. Outside fence stand ripe, yellowed rice plants, which the autumn wind gently blows against the gate in the fence. Evening is falling, and candlelight illuminates the hut, falling through the open door. At the edges of the sky, the dark blue of night is encroaching. The horizon is pink, magenta and yellow. A cozy scene unfolds on this lovely evening in autumn. Masterfully executed in wet watercolor with quick, deft brushstrokes, elegantly and perfectly capturing an autumn ambiance. Traditional Japanese scenery.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut in rich autumn colors, additionally highlighted with ink, executed on rough handmade paper of poem number 70, Ryōzen Hōshi, of the Ogura Hyakunin Isshu: "In my loneliness / I leave my little hut. / When I look around, / Everywhere it is the same: / One lone, darkening autumn eve." A modest wooden hut stands on a mountainside. A Japanese Buddhist monk in humble clothing sits, cross-legged, on the bare ground in front of the hut, meditating. It is late autumn, and evening. The sky is pink and yellow with the last light of the sun, which has set. At the edges of the sky, the dark blue of night is encroaching. The pink and yellow on the horizon is interrupted by the dark, backlit silhouette of a V-shaped formation of geese flyng south. The geese are a melancholy, poignant harbinger of the cold winter to come. Extreme detail, painstaking, masterful execution. Linocut in several layers. Clarity of rendering, exquisite technique. Traditional Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate brocade tapestry in rich colors, executed on rough handmade paper of poem number 69, Nōin Hōshi, of the Ogura Hyakunin Isshu: "It's the autumn leaves / of the hills of Mimuro, / where the tempests blow, / that are the woven borcade floating / on the waters of Tatsuta River!" We see a whirl and dance of red maple leaves coming down from the mountain slopes and landing like a beautiful, woven, brocade carpet on the river. The surface of the lazily flowing, broad, straight river is almost entirely carpeted with maple leaves shimmering in all shades of red, scarlet and maroon, coming together in a textile-like cover. The sky is bright blue and clear, the mountain slope is covered with maple trees in festive, autumn colors. The image is rendered as an almost palpable textile with exceeding detail, making the river cover look like a precious brocade fabric. Personification of autumn. Clarity of rendering, masterful technique. Exquisite Japanese folio.
Prompt: Masterpiece, a multi-block woodcut print (ukiyo-e) in the style of Utamaro. The composition is defined by a master key block a network of bold, sumi-e black outlines that structure the entire scene. Persian princess, complex 3 d render hyper detailed ultra sharp beautiful futuristic stunning biomechanical humanoid Czech woman with porcelain ivory face, medium shot portrait, close - up, filigree lace, iris van herpen cyberpunk daisies red purple yellow green corals haute couture headdress with rhizomorph finials spires, brackets, fractal embroidered puffballs, octane render, 8 kAbstract cubist drawing. Style of M. C. Escher and Wassily Kandinsky and Kazimir Malevich. highly detailed fantasy beautiful matte background pencil sketch abstakt graphic lines Her dark hair is styled elegantly, rendered with fine, parallel carved lines. She gazes thoughtfully at a sleek black cat beside her, its form a solid silhouette of jet-black ink. In the background, stylized figures in traditional clothing are simplified into graphic silhouettes and patterns, adding a layer of narrative mystery. The lush greenery is suggested by stylized, repetitive leaf clusters and textured bark patterns, not soft blends. The color palette is rich but limited, blending earthy tones of ochre and moss green with the vibrant splashes of color from the woman's outfit. The entire print exhibits the subtle grain of the woodblock and the clean, flat application of ink, hallmarks of the traditional Japanese printmaking process. Ukiyo-e, woodblock print, key block, bold outlines, flat colors, graphic style, traditional Japanese art, textured, stylistic.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut in rich colors, executed on rough handmade paper of poem number 67, Suō no Naishi, of the Ogura Hyakunin Isshu: "If I lay my head / Upon his arm in the dark / Of a short spring night, / This innocent dream pillow / Will be the death of my good name." The image shows the close-up of a beautiful, young, contemporary Japanese worman's head lying cozily on a man's arm. Her eyes are closed, her expression is peaceful and relaxed. The close-up is so detailed that we see every hair on the man's muscular arm, and every detail of the woman's face. Her face is well-lit, whereas the background fades into the dark. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like linocut with enormous detail. Clarity of rendering, timeless, symbolical motif. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 66 - Saki no Daisōjō Gyōson
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph enhanced with ink highlights to provide depth. The image is rendered in magnificent colors on rough handmade paper and shows the visuals of poem number 66, Saki no Daisōjō Gyōson, of the Ogura Hyakunin Isshu: "Let us think of each / other fondly, / O mountain cherries! / For, outside of your blossoms, / there's no one who knows my feelings." Atop a hill in a gently rolling spring landscape blooms a single, majestic, solitary mountain cherry tree, a yamazakura. The blossoms are pure white and as graceful as snowflakes. New, light green leaves peek forth between the white blossoms, enhancing the depth of the image. The rolling hills are covered with fresh grass, the sky is baby blue with puffy, white clouds. Skilled and masterful execution. Enchanting nature motif, with a hint of melancholy. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a Symbolistic pastel painting int he style of Odilon Redon in rich, luminous colors, executed on rough handmade paper of poem number 68, Sanjō-in, of the Ogura Hyakunin Isshu: "Though I do not want / To live on in this floating world, / If I remain here, / Let me remember only / This midnight and this moonrise." We see an older Japanese man from the side. He is floating, prostrate, in the midnight air, his eyes closed and his arms crossed peacefully on his chest. Below him, a yellow moon is rising, just peeking over the dark horizon. The colors of the image are luminous blues, whites, yellows, and, for the loose-fitting, simple clothes of the man, magenta and light blues. The highly symbolistic pastel painting shows the man and the moon in exquisite detail, whereas the background is smudged and executed many layers of rich oil pastels. Clarity of rendering, timeless, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered wet watercolor rendering in magnificent colors on rough handmade paper of poem number 65, Sagami, of the Ogura Hyakunin Isshu: "Even when your hate / Makes me stain my sleeves with tears / In cold misery, / Worse than hate and misery / Is the loss of my good name." A visibly sad and distraught contemporary Japanese woman is kneeling on her bed, her hands on her knees. crying. Her apartment is sparsely furnished, except from four panels of Japanese paintings on the walls evoking the Heian period. Each panel shows part of a continuous motif of a sakura tree rendered in ink on a golden background. The woman, the bed and the apartment are rendered as a heavy impasto oil painting in various shades of white, gray, tan, and borwn, with the black and gold of the four panels providing a welcome contrast. Skilled and masterful execution juxtaposing the traditional feel of the four panels and the contemporary ambiance with the sorrowful Japanese woman. Exquisite Japanese folio.
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered wet watercolor rendering in magnificent colors on rough handmade paper of poem number 64, Gonchūnagon Sadayori,of the Ogura Hyakunin Isshu: "In the early dawn / When the mists on Uji River /
Slowly lift and clear, / From the shallows to the deep, / The stakes of fishing nets appear.'" It is early morning in winter, and the whitish-gray mist lies over the still Uji River, gradually lifting to show a row of dark-gray wooden fishing stakes extending far out into the river. The horizon is the tender pink and yellow of a winter dawn, but the shadows are all shades of gray. Wet-on-wet watercolor, splash painting style, capturing a perfect still moment with aquarelle technique. Skilled and deft execution, peaceful nature motif. Superlative technique. Exquisite Japanese folio.
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered wet watercolor rendering in magnificent colors on rough handmade paper of poem number 63, Sakyō Daibu Michimasa, of the Ogura Hyakunin Isshu: "Now, the only thing / I wish for is a way to say / to you directly / - not through another- / 'I will think of you no longer!'" The image shows the poet, Sakyō Daibu Michimasa, sitting alone and contemplating his ill-fated affair with a 15-year old High Priestess. The poet is sitting cross-legged on a simple tatami mat in a simple hut. Behind him, we see his thoughts in a double exposure: He is thinking about the young High Priestess, Princess Masako, standing regal in the Ise Shrine. The poet will never see her again, and was not even allowed to say good-bye. Finest linocut additionally colored with wet watercolor. Compelling double exposure, every detail of the tatami mat and the poets clothing finely worked with the linocutter's tool. The double exposure showing the scene with the High Priestess is executed in dark colors and in a bokeh esthetic. Deft execution, melancholy motif. Superlative technique. Exquisite Japanese folio.
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered wet watercolor rendering in magnificent colors on rough handmade paper of poem number 62, Sei Shōnagon, of the Ogura Hyakunin Isshu: "The rooster's crowing / In the middle of the night / Deceived the hearers; / But at Osaka's gateway / The guards are never fooled." The image shows a magnificant, colorful rooster with ruffled feathers and wings open wide crowing zestily. He is sitting atop a pile of hay outside a lowly shed at midnight, and is lit by the half-moon. The image of the rooster completely dominates the picture. Ever details of his colorful feathers and cock's comb can be made out. Finest linocut additionally colored with wet watercolor. Magnificent feathers, very detailed hay in the haystack, every detail of the planks of wood of the shed behind the haystack finely worked with the linocutter's tool. Dark sky with a pale moon. Deft execution, whimsical nature motif. Superlative technique. Exquisite Japanese folio.
Prompt: Fully wide 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered wet watercolor rendering in magnificent colors on rough handmade paper of poem number 61, Isé no Tayū, of the Ogura Hyakunin Isshu: "The eight-petalled cherries / from the Nara capital / of the ancient past / today nine layers thick / have bloomed within your court!" The image shows a single, venerable, gnraled, beautiful "yae-zakura" cherry tree whose last, eight-petaled cherry blossoms are still clinging to the tree. The remaining blossoms have fallen to the ground in a shower of pink and white, covering the ground in a thick layer of perfect, fallen petals. The tree stands protected in the corner of a brickwork wall enclosing a palace courtyard, with the April morning sun shining on the tree and casting its shadow on the elaborate terra cotta brickwork of the cozy wall corner behind it. Rendered in highly detailed wet watercolor technique, additionally highlighted with ink. Magenta pink blossoms, deft execution, introspective, peaceful nature motif. Superlative technique reminiscent of John Singer Sargent. Expressionist and highly emotive ambiance. Exquisite Japanese folio.
Prompt: 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered woodblock rendering on rough handmade paper of poem number 60, Koshikibu no Naishi, of the Ogura Hyakunin Isshu: "By Ōe Mountain / The road to Ikuno / Is far away, / And neither have I beheld / Nor crossed its bridge of heaven." The image shows a mountain, snow-capped Ōe Mountain, in the distance. A winding road leads through rolling wheat fields from the viewer to the mountain. An elaborate wooden bridge in the style of a painted, wooden Japanese temple over a small stream can be made out on the road ahead, Rendered as a fine woodcut partly additionally complemented by wet watercolor exectued in a style reminiscent of the great Japanese woodcut artists. Deft execution, peaceful landscape motif. Old masters' technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate illustration with rich colors, executed on rough handmade paper of poem number 59, Akazome Emon, of the Ogura Hyakunin Isshu: "Though I'd have preferred / to have gone offf to bed / without hesitating, / the night deepened and / I watched the moon till it set!" The image shows a contemporary, young Japanese woman in a silk kimono with an elaborate bird and floral pattern and sumptuois, rich colors sitting on a chic, Italian, anthracite-colored sofa in her very modern apartment with a gray-and-cream interior decoration color scheme. She is softly lit by a living room floor lamp, whereas the remainder of the apartment is shadowy and dark. The young woman is apparently waiting for her lover to come, and has already been sitting on her sofa for many hours. Behind her, in a window, we see a very small, pale crescent moon high in the dark night sky. The image is exudes a melancholy and timeless ambiance. The image is rendered as an illustration in the manner of a glossy architectural magazine photograph with a model, the young woman in the brightly colored silk kimono, contrasting sharply with the surrounding color scheme. Extreme clarity of rendering, contemporary, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: 16:9 format of a painstakingly crafted, extremely detailed, multilayer, delicate lithograph and multilayered woodblock rendering on rough handmade paper of poem number 58, Daini no Sanmi, of the Ogura Hyakunin Isshu: "As Mount Arima / Sends its rustling winds across / Ina's bamboo plains, / I will be just as steadfast / And never will forget you." The image shows a highly detailed field of bamboo grass in beaturuful shades of green and tan being blown and bent by the wind. The bamboo grass is bent away from the steady wind. The woodcut is the perfect medium to show, in painstaking detail, the repetitive patterns of the bamboo grass. On the horizon, in the distance, lies Mount Arima. Woodcut partly additionally complemented by wet watercolor exectued in a style reminiscent of the great Japanese woodcut artists. Deft execution, introspective, peaceful nature motif. Old masters' technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate illustration with rich colors, executed on rough handmade paper of poem number 57, Murasaki Shikibu, of the Ogura Hyakunin Isshu: "As I was wondering / whether or not I had seen it / by chance, / it became cloud-hidden, / the face of the midnight moon!" The image shows a modern Japanese woman in a business blazer and skirt standing on a busy sidewalk facing the viewer. Pedestrians pass her by in the opposite direction, away from the viewer, rushing past her in a blur. Only the woman is completly in focus. She has a bewildered expression on her face, as if she has just seen someone and is trying to process what exactly she saw. It is night, and neon advertisement signs are flashing in bright colors. High above the myriad, colorful neon signs is a nighttime sky with a very small, pale, white moon half-hidden behind clouds. The image is permeated by a sense of confusion and melancholy. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like, watercolor magazine illustration with enormous detail at the "Where's Waldo?" level. Extreme clarity of rendering, contemporary, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 56, Izumi Shikibu, of the Ogura Hyakunin Isshu: "Among my memories / or this world, from whence / Iwill soon be gone, / oh, how I wish there was / one mor meeting, now, with you!" We see a close-up of an very old but regal and elegant Japanese woman in profile. She has gray hair elegantly captured in a bun and is wearing loose, elegant, contemporary clothing. She has all the bearing of a noblewoman as she sits in front of a window at night, gazing out. The window captures a ghostly reflection of a former lover, a very handsome, 20-something Japanese man. The reflection is a projection of the Japanese woman's memory of her lover. The setting is contemporary, in a stark apartment with simple furniture and a single vase with an artfully arranged floral display. Wistful, melancholy, end-of-life atmosphere. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like linocut with enormous detail. Clarity of rendering, timeless, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 55, Dainagon Kintō, of the Ogura Hyakunin Isshu: "Though the waterfall / Ceased its flowing long ago, / And its sound is stilled, / Yet, in name it ever flows, / And in fame may yet be heard." The image consists of two layers superimposed like two panes of glass: The layer undeneath features a mountainside with a lively, sparkling, silver waterfall dashing merrily down rocks to a still, dark pool among rich, verdant vegetation. The second layer, semi-transparently covering the first layer, shows the same mountainside, but the vegetaion has withered and the waterfall no longer exists, exposing the craggy rocks beneath the erstwhile waterfall. The layer underneath is a memory, and the layer on top is a currnet representation of the landscape. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like, hand-colored woodcut with enormous detail. Clarity of rendering, timeless, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 54, Gidō Sanshi no Haha, of the Ogura Hyakunin Isshu: "If remembering me / Will for him in future years / Be too difficult, / It would be well this very day / That I should end my life." The image shows a Japanese wedding couple during the Heian period. The Japanese bride and the Japanese groom are standing next to each other, facing the viewer. They are dressed in splendid robes made of silk with a floral pattern worven with shimmering colors. The woman is stone-faced and emotionless. The man is fully transparent, as if he were a ghost or only a figment of the woman's imagination. The couple is standing in a simple hallway into which the starlight shines. The colors are dark around the edges of the hallway, only the couple is well-lit, with the man being but a transparent projection. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like linocut with enormous detail. Clarity of rendering, timeless, symbolical motif. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 53 - Udaishō Michitsuna no Haha
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 53, Udaishō Michitsuna no Haha, of the Ogura Hyakunin Isshu: "Lying all alone, / Through the hours of the night, / Till the daylight comes: / Can you realize at all / The emptiness of that night?" The image shows a lonely, contemporary Japanese woman dressed in a silk bathrobe she is hugging tightly around her. She is standing at the window of her apartment, looking out into the gloomy night sky, her back to us. She is in her bedroom, wainting for daybreak. She reflects on her emotional pain, frustration and loneliness. Her husband is spending time with his mistress and has abandoned his wife to solitude and melancholy. The nighttime sky is overcast, and the entire image seems steeped in darkness, except for a dim night light located outside the image on the right-hand side. The dim light strikes the woman's silhouette from the right, so that the pattern of her silk bathrobe and her messily arranged hairdo become visible, and casts faint shadows that put the left side of the image into complete darkness. The colors range from faint yellow to deep, velvety black, with a range of blues and grays in between. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like woodcut with enormous detail. Clarity of rendering, timeless, symbolical motif combining a traditional woodcut with a contemporary zentangle esthetic. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 52 - Fujiwara no Michinobu Ason
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 52, Fujiwara no Michinobu Ason, of the Ogura Hyakunin Isshu: "Though I know indeed / That the night will come again / After day has dawned, / Still, in truth, I hate the sight / Of the morning's coming light." The image shows a very early, cold dawn outside the window of a spartan room. The light of dawn shows in shades of blue, pale yellow, and delicate orange on the horizon, whereas the sky higher up is still very dark blue. The view of the window toward the Eastern sky is from an unmade bed with crumpled sheets. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like wet watercolor, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combining wet watercolor with a low-poly and contemporary zentangle esthetic. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 51 - Fujiwara no Sanekata
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 51, Fujiwara no Sanekata, of the Ogura Hyakunin Isshu: "How can I tell her / How fierce my love for her is? / Will she understand / That the love I feel for her / Burns like Ibuki's fire plant?" The image shows an well-polished, ancient oak table with a bundle of dried mugwort tied with a satin ribbon. Next to the bundle of dried mugwort lies a moxibustion set. The therapy room in which the table stands is dark, only the table and the moxibustion parapernelia are well-lit. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 50 - Fujiwara no Yoshitaka
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 50, Fujiwara no Yoshitaka, of the Ogura Hyakunin Isshu: "Even the life that / I'd not have been sorry to lose / just to meet you once, / now, having met, I think: / 'I want it to last forever'!" The image shows a futon in a Japanese house with messy bedclothes and a sumptuous, exquisitely embroidered silk bed spread, crumpled by the bedside. The bedspread has the sheen of silk and a highly ornate bird-and-blossom pattern in exquisite colors - shades of green, pink, magenta, burgundy and yellow - and is the focus of the image. The silk bedspread symbolizes the poet's love for his lover on the morning after. The stark bed and room contrast sharply with the floral sumptuousness of the bedspread. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 49 - Onakatomi no Yoshinobu
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with bokeh edges, rich colors, executed on rough handmade paper of poem number 49, Onakatomi no Yoshinobu, of the Ogura Hyakunin Isshu: "Like the guard's fires / Kept at the imperial gateway-- / Burning through the night, / Dull in ashes through the day-- / Is the love aglow in me." The image shows an impressive, massive, ornate,pompous imperial gate to the emperor's court. On the left side and on the right side of the gate, a guard's fire is burning brightly, illuminating the gate and the immediate surroundings. The edges of the image are dark, and the starr-filled sky is dark. The image focuses fully on the guard fires and the ornate gate between them. The fires are burining in metal braziers in the shape of large bowls, and they are sending bright sparks into the air above. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. The gate and the fires are executed in profound detail, whereas the surroundings are executed more hastily. The composition is lively. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Dream Level: is increased each time when you "Go Deeper" into the dream. Each new level is harder to achieve and
takes more iterations than the one before.
Rare Deep Dream: is any dream which went deeper than level 6.
Deep Dream
You cannot go deeper into someone else's dream. You must create your own.
Deep Dream
Currently going deeper is available only for Deep Dreams.
