Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 24, Kanké (Sugawara no Michizane), of the Ogura Hyakunin Isshu: "This time around / I couldn't even bring the sacred streamers / --Offering Hill-- / but if this brocade of leaves it to the gods' liking..." The image shows autumn on Mount Tamuke, with red-leaved trees ringing the mountain. Almost transparently overlaid over the image of the mountain is a nusa, a rather large wand from the top of which many thin, white paper streamers hang down. The wand is used in Shinto religious ceremonies. The red-leaved trees shine through the nearly transparent, full top layer. The mountain and trees exhibit patterns typical of a woodblock print. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 23, Ōe no Chisato, of the Ogura Hyakunin Isshu: "When I look at the moon / I am overcome by the sadness / of a thousand, thousand things - / even though it is not Fall / for me alone." The image shows a waning, yellow moon, which has just risen over the horizon, in a starry, dark sky. Naked, black tree branches reach into the sky, creting intricate patterns. The large sickle of the moon peeks forth from a clearing between the branches. The meadow on the ground is even darker than the sky. A melancholy mood permeates the picture. The sky and the meadow have typical patterns of a woodblock print. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 22, Fun’ya no Yasuhide, of the Ogura Hyakunin Isshu: "It is by its breath That autumn's leaves of trees and grass are wasted and driven. So they call this mountain wind The wild one, the destroyer." The image shows a side view of a richly wooded, sloping mountainside in late fall. A gale-force gust of wind is blowing down the mountainside quite dramatically and, for the sake of the viewer, with a visible pattern. The wind is blowing red and yellow leaves before it, and bending grasses all the way to the ground. The leaves swirl and twirl in the crisp fall air. The red and yellow of the trees and leaves contrast sharply with the white pattern used to visualize the wind against an electric blue sky. Intricate watercolor overlaid with a woodblock print. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 21, Sosei Hōshi, of the Ogura Hyakunin Isshu: "It was only because you said you would come right away that I have waited these long months, till even the wan morning moon has come out." The image shows a standing Japanese woman of antiquity gazing out a a green, hilly landscape in early morning, with a pale waning moon barely visiblein the light-blue morning sky of dawn. She is a peasant, and is wearing a simple, rough, indigo-dyed cotton kosode (forerunner of the kimono). The green, hilly landscape is strongly patterned, as is the pale blue morning sky. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 20, Motoyoshi Shinnō, of the Ogura Hyakunin Isshu: "Miserable, now, it is all the same, Channel-markers of Naniwa - even if it costs my life, I will see you again!" The image shows a Japanese prince sitting on his haunches on the shore of Naniwa Inlet, looking at the miotsukushi, or water markers - wooden posts - placed in shallow areas as safe navigation guides. The Crown Prince is dressed in a sokutai, an enveloping formal robe of golden, heavily patterned silk. The still waters of the inlet twinkle in the sunlight. The nearly cloudless sky is a cerulean blue. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 19, Lady Ise, of the Ogura Hyakunin Isshu: "Even for a time Short as a piece of the reeds In Naniwa's marsh, We must never meet again: Is this what you are asking me?" The image shows a Japanese woman of antiquity from the back. She is dressed in highly ornamented, precious robes. Her hair is put up in an an extravagant hairdo. Her slumped shoulders and the cast of her head indicate that she is melancholy, as she wistfully gazes out over strongly repetitively patterned, sumptuous reeds lining the banks of Naniwa (Osaka) inlet. Behind the reeds, blue water twinkles in the sunlight. The sky above is bedecked with intricately patterned cirrocumulus clouds. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 18 - Fujiwara no Toshiyuki
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 18, Fujiwara no Toshiyuki, of the Ogura Hyakunin Isshu: "Must you so avoid others’ eyes that not even at night, along the road of dreams, will you draw nigh like the waves to the shore of Sumi-no-e Bay?" This poem was an entry in a poetry contest by accomplished poet and calligrapher Fujiwara no Toshiyuki. The image personifying the poem shows waves lapping the shore of Sumi-no-e Bay (Osaka Bay) at night. The stars are shining brightly; their silvery light reflects off the waves and the foam that decorates their edges on the shore. The sky is underlaid with a very delicate, barely noticeable calligraphic line pattern of two lovers engaged in a forbidden tryst lying across the entire sky, as if in a dream, almost obscured by the light of the twinkling stars. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 17, Ariwara no Narihira, of the Ogura Hyakunin Isshu: "Unheard of even in the legendary age of the awsome gods: Tatsuta River in scarlet and the water flowing under it." This particular poem, and the image it conjures up, is a masterpiece. We see scarlet Japanese maples lining the bank of the scenic, gently flowing Tatsuta River. The golden sun is shining on this day in fall, and the maple trees are very gradually losing their foliage. Leaves are lazily floating downward through the air, and cover nearly the entire surface of the river. The leaf-covered river shimmers in tones of scarlet and burgundy as the leaves slowly floating downriver. Poignant image perfectly capturing the essence of autumn. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 16, Ariwara no Yukihira, of the Ogura Hyakunin Isshu: "Though we are parted, If on Mount Inaba's peak
I should hear the sound Of the pine trees growing there, I'll come back again to you." The image shows Inaba mountain, on whose slopes a verdant pine forest grows, in the distance. In the foreground, we see a small group of young Japanese Middle Counselors wearing intricately patterned silk black-and-gold robes with a high collar at the back of their necks, over loose, abstractly patterned white-and-gold pants. The noblemen are thronging around one of their members to bid him farewell and good luck for his assignment to Inaba province. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 14, Emperor Kōkō, of the Ogura Hyakunin Isshu: "It is for your sake That I walk the fields in spring, Gathering green herbs, While my garment's hanging sleeves Are speckled with falling snow." The image shows an elegantly dressed, young man, Kōkō Tennō, bending over to pick wildflowers and green herbs in very early spring. Snowflakes are falling on the sleeves of the emperor's intricately patterned silk kimono. He is fully concentrated on his task, and is holding a small bouquet of greens and spring wildflowers in one hand while he is bending over and picking a single flower to add to the bouquet. The weather is cold and gray, with a strong wind blowing patterned clouds through the sky. The emperor's exquisitely colored silk robe contrasts starkly with the inclement, gray weather. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 14, Minamoto no Toru, of the Ogura Hyakunin Isshu: "Like Michinoku prints Of the tangled leaves of ferns, It is because of you That I have become confused; But my love for you remains." The image shows a large cloth blanket thrown over a wooden bench. The blanket has an intricately tangled, confusing, mottled pattern of ferns. The dark cloth has a print of metallic gray fern fronds with bluish and reddish tints. Next to the cloth, on the bench, sits an elegant Japanese statesman from a long bygone era. He is dressed in courtly robes tied with an ornameted sash. The nobleman is despondent, and is sitting with his elbows on his knees and his head cupped in his hands. Behind the close-up of the bench with the statesman and the patterned cloth are dark, abstracted trees in a Japanese esthetic. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 13, Emperor Yōzei, of the Ogura Hyakunin Isshu: "From Tsukuba's peak Falling waters have become Mina's still, full flow: So my love has grown to be Like the river's quiet deeps." The image focuses on a silver, glittering waterfall cascading from the green, richly wooded peak of Mount Tsukuba. At the bottom of the waterfall, a deep, dark-blue pool with a swirling pattern forms. From the pool, the gentle, blue river Mina issues forth. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 12, The Monk Henjo, of the Ogura Hyakunin Isshu: "Let the winds of heaven Blow through the paths among the clouds And close their gates. Then for a while I could detain These messengers in maiden form." The image shows four beautiful Gosechi dancers in their colorful, elaborate, ornamented, multi-layered silk kiminos called jūni-hitoea, holding cypress fans, wearing their hair in an elaborate hairdo, and dancing to celebrate the rice harvest. Above the dancers, ominous, dark clouds are gathering decoratively, blown together by a strong wind. The purpose of the clouds is to detain the four "heavenly madens" from returning to heaven. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 11, Ono no Takamura, of the Ogura Hyakunin Isshu: "Over the wide sea Towards its many distant isles My ship sets sail. Will the fishing boats thronged here Proclaim my journey to the world?" The image shows a small harbor inthe foreground, in which numerous traditional Japanese wooden sabani fishing boats are anchored. From the harbor, a single wooden sabani with large, white sails, is setting sail in good weather. The ocean is smooth, and the water's surface glitters silver and blue in the golden, late afternoon sun. The ship is sailing toward distant islands visible on the horizon, where the silver-blue sea meets the golden light of the sun. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 11, Semimaru, of the Ogura Hyakunin Isshu: "Truly, this is where Travelers who go or come Over parting ways--Friends or strangers--all must meet: The gate of "Meeting Hill." The image shows a small, weathered wooden gate overgrown by grass and weeds on either side of the gate. The gate is integrated in a wooden rail-and-post fennce in rich, dense vegetation. A gravelly path leads up to and beyond the gate. The path winds up a grassy slope and beyond to the Meeting Hill. A wan sun shines down on the scene from a cloudy sky. Exquisite Japanese folio.
Prompt: five Playful Japanese, Pinay, and Korean girls, mud fight, standing in a 4 ft deep mud pit, showing faces and bodies fully immersed in mud, not a square inch of clean on them, smearing and adorning each others' faces and hair with thick mud. they must adorn each othets' heads and entire body, leaving their clothes not showing under the mud.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 9, Ono no Komachi, of the Ogura Hyakunin Isshu: "Color of the flower Has already faded away, While in idle thoughts My life passes vainly by, As I watch the long rains fall." The image shows a back view of a middle-aged woman standing at a large picture window in the 35th floor of a skyscraper. She is gazing outside at the rain. We see a reflection in the windowpane of a pale, perfect calla lily in a vase. It is evening, and behind the reflection fo the calla lily, and behind the rain outside, we can make out the blurry outlines of many lit windows in nearby skyscrapers. The ambiance is one of wistfulness and loneliness, as the woman stands forlorn at the window. Exquisite modern Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 8, The Monk Kisen, of the Ogura Hyakunin Isshu: "My lowly hut is Southeast from the capital. Thus I choose to live. And the world in which I live Men have named a "Mount of Gloom."" The image shows a Shintō priest wearing the traditionsl shōzoku of an ordinary type (jōsō) in light blue, signifying a lesser rank. The priest is sitting on his haunches in front of his "lowly hut," gazing at the distant skyline of a modern city to the northeast, illuminated by the setting sun. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 7, Abe no Nakamaro, of the Ogura Hyakunin Isshu: "When I look up at The wide-stretched plain of heaven, Is the moon the same That rose on Mount Mikasa In the land of Kasuga?" The image shows a very large, pink rising full moon on the low horizon, so clear that the craters and marks on the moon are visible in full detail. The sky is a deepening mid-blue and extends to the edges of theimage. The first star, the evening star, is visible at the edge of the image. The landscape over which the moon is rising is hilly. The image focuses fully on the singular motif of the rising moon. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 6, Otomo no Yakamochi, of the Ogura Hyakunin Isshu: "If I see that bridge That is spanned by flights of magpies
Across the arc of heaven Made white with a deep-laid frost, Then the night is almost past." The image shows a tied arch bridge made of wood, bamboo and rope, spanning a deep valley. Craggy mountains populated by coniferous trees surrround the bridge. Above the bridge, a flock of magpies ascends to the frosty, deep blue sky. White hoarfrost has settled on the bridge and the abundant conifers. A rosy dawn fills the horizon, causing the hoarfrost to glint and shimmer. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 5, Sarumaru, of the Ogura Hyakunin Isshu: "In the mountain depths, Treading through the crimson leaves,
The wandering stag calls. When I hear the lonely cry, Sad--how sad!--the autumn is." The image shows a single, majestic stag in a bare autumn forest standing on a carpet of red, fallen leaves. The stag has lifted his head and is sending forth a rutting call. He has large, twelve-point antlers and is calling for a hind. One can see the breath of his call in the cold autumn morning air. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 4, Yamabe no Akahito, of the Ogura Hyakunin Isshu: "When I take the path To Tago's coast, I see Perfect whiteness laid On Mount Fuji's lofty peak By the drift of falling snow." The image shows a full scenic view of Mount Fuji from the coast at Tago near Eijiri, based on Katsushika Hokusai's woodblock print from his series "Thirty-Six-Views of Mount Fuji." In the foreground, we see wooden fishing boats steering through strong currents shown in repetitive wave patterns. In the mid-ground, we see the gentlecoastline. The upper half of the image is dominated by the spectacular view of Mount Fuji, with its blindingly white snow-capped peak and its archetypal curved silhouette, with its reverse curvature compared to the fishing boats in the foreground. The sun is shining on the mountain, and the trees along the coast as well as the choppy waves indicate that a strong wind is blowing. Exquisite Japanese folio.
Prompt: Japanese sorceress casting a spell, green fire from her hands, facing away from viewer, shinto village with Sakura trees, ink wash painting, dark, abstract, ominous, style of Dave McKean and Stephen Gammell
Ogura Hyakunin Isshu No. 3 - Kakinomoto no Hitomaro
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 3, Kakinomoto no Hitomaro, of the Ogura Hyakunin Isshu: "Oh, the foot-drawn trail Of the mountain-pheasant's tail Drooped like down-curved branch! Through this long, long-dragging night Must I lie in bed alone?" The image shows a forlorn, old man in a Japanese patterned cotton robe lying supine on a stark bed, arms crossed over his chest, staring into the sky. Outside his bedroom window, it is the break of dawn. A foggy, orange glow lies over the landscape. In the morning haze, we can make out a mountain footpath leading up to a snowy peak. Exquisitely detailed Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 2 of the Ogura Hyakunin Isshu: The spring has passed, And the summer come again; For the silk-white robes, So they say, are spread to dry On the "Mount of Heaven's Perfume." The image shows an intricately geometrically patterned woven silk robe spread on a dewy flower meadow under a rising summer sun. Exquisitely detailed Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 1, Emperor Tenchi, of the Ogura Hyakunin Isshu: "Coarse the rush-mat roof Sheltering the harvest-hut Of the autumn rice-field; And my sleeves are growing wet With the moisture dripping through." The image shows a rice paddy being harvested; the harvester on the left side of the image bends over the golden, ripe rice plants. He is holding a sharp sickle and is wearing a large, conical straw hat fastened under his chin, baggy pants, heavy rubber boots, and a loose blue smock with wide sleeves. The sleeves are wet to the elbows with the sweat of exertion and the humidity in the air. In the background stands a simple harvesting gut with a rush-mat roof. The early autumn sun is beating down on the harvesting scene. 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.
