Ogura Hyakunin Isshu No. 96 - Nyūdō Saki no Daijōdaijin
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-width, broad, 16:9 format of an extremely detailed, delicate, intricate, richly colored impasto oil painting all the way to the edge of the canvas, of poem number 96, Nyūdō Saki no Daijōdaijin, of the Ogura Hyakunin Isshu: "Not the snow of flowers, / That the hurrying wild wind whirls / Round the garden court: / What withers and falls away / In this place is I myself." The painting is executed with strongly visible brushstrokes, highlighting the falling Sakura cherry tree petals as they twirl and dance in the wind. Behind the veritable shower of petals stands a very old Japanese man in a simple, indigo-dyed robe, gazing out at the petals. His arms are crossed in front of him, his feet are planted firmly in the ground. Symbolic image equating the falling pink flower petals with the many years this old man has lived. Pronounced brushstrokes emphasize the whirling of the petals in the courtyard. Highly intricate detail, strongly symbolic, Impressionistic. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 95 - Saki no Daisojo Jien
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-width, broad, 16:9 format of an extremely detailed, delicate, intricate, richly colored impasto oil painting all the way to the edge of the canvas, of poem number 95, Saki no Daisojo Jien, of the Ogura Hyakunin Isshu: "From the monastery / On Mount Hiei I look out / On this world of tears, / And though I am unworthy, / I shield it with my black sleeves." The painting shows a Japanese Buddhist monk in the traditional dark-black robe with large sleeves He is looking out of the window of the stark cell of his monastery on Mount Hiei, onto a breathtaking landscape on a cool late winter morning. The chilly morning is symbolic of the suffering in the world, and the ink-black robe is symbolic of the Buddhist monk's vow of compassion with all beings who are suffering. Rich colors surround the central blackness of the robe. Stark image heightened with the deftness of the brushstrokes. Highly intricate detail, strongly symbolic in a style that is reminiscent of symbolist painter Odilon Redon. Exquisite Japanese folio.
Prompt: Full-width, broad, 16:9 format of an extremely detailed, delicate, intricate, multicolored linocut all the way to the edge, rich colors, executed on rough handmade paper of poem number 94, Sangi Masatsune, of the Ogura Hyakunin Isshu: "From Mount Yoshino / Blows a chill, autumnal wind. / In the deepening night / The ancient village shivers: / Sounds of beating cloth I hear." The linocut shows a naturalistic close-up of an older Japanese peasant woman in simple work garb beating woven wool lying on a smooth stone surface. She is raising her right arm, in which she is holding a simple wooden hammer that she uses to beat the woolen cloth. This process will make the cloth more durable, warmer, softer and water-resistant. Behind the woman, we see the lights in the windows of the ancient village on the mountainside as night falls. The horizon is still light blue, but the blue of the sky deepens toward the top of the image. A chilly wind whisks and twirls late autumn leaves in a flurry surrounding the woman. Color palette of rich colors, shades of blue in the sky and work garb, yellow in the windows of the houses, mostly grays and browns for the houses, tan for the wooden hammer-like mallet, gray for the stone on which the wool fabric lies, and anthracite for the woollen cloth. Clarity of rendering, masterful linocut in several layers and with highly intricate detail, clearly visible, short cuts with the linocutter. Exquisite Japanese folio.
Prompt: Full-width, broad, 16:9 format of a delicate wet watercolor all the way to the edge in strong colors, executed on rough handmade paper, of poem number 93, Kamakura no Udaijin, of the Ogura Hyakunin Isshu: "If only our world / Could be always as it is! / How moving the sight / Of the little fishing boat / Drawn by ropes along the bank." The watercolor shows a poignant, peacuful, nostalgic scene: A small, one-man, wooden fishing boat colored in red and blue is being drawn along the riverbank with a simple rope. The poet, whose life was turbulent, wistfully yearns for such simplicity and reliable continuity. The boat is being dran on a calm river, with trees in the distance executed in watercolor sponging technique. Color palette incorporating blues, reds, and light green. Clarity of rendering, masterful aquarelle rendered with a deft hand. Exquisite Japanese folio.
Prompt: (((Masterpiece))) “Wolf Needs Sheep”
(Narrated by a shadowy, authoritative female animal spirit)
---
This winter’s a cold one.
I am older than any favorite sweater, yet crafted with more care than the quilters’ finest hands. Generations have passed—not the original fabric, but a hybrid of past lives, woven into every fiber of memory.
Woven in digital light, these human expressions of plight stretch before me. Every rip, every tear, every stray cat hair, every dog’s fur caught in careless folds—I observe it all. Not a thread, not a shred of wool from a living sheep. Leave them be in the fields to bleat and sleep. Not a feather stolen from chicks or the crowned rooster.
The human—a Japanese American vegan—moves within these traces, unaware of how I perceive them. They speak of life and time, of morality, of choices made to avoid harm. Yet in their hands, the evidence of animals clings: hairs, tears, remnants of care, small betrayals of ethical intention.
We cannot trade life for time, yet time for life is abundant. And perhaps, inevitably, we shall collapse all at once—meteor, volcanic fire, a cosmic reckoning.
I move closer, drifting through shadow. My gaze follows each small detail: the quilts, the hairs, the tears. I sniff them, trace them, measure the contradiction. Humans are strange, yes—but they have joined us, in ways they cannot fully see, on a path toward fame, toward survival, toward whatever meaning they cling to.
I whisper to myself and the universe: observe, reflect, judge gently. The traces of life they leave are testimony enough, reminders of fragility, of care, of hypocrisy, of persistence.
And still, we watch.
storybook mixed media visualize this poem by Sproutfuel2: I am more weathered than any favorite sweater, yet made with more care than the quilters flare. Many generations passed not the original fabric, yet some hybrid of past. Woven in digital light, clothing expressions of human plight, every rip every tear every cat hair, or dog. Not a thread or a shred of wool from a sheep, leave them be in the field to bleat and sleep. Not to feather or any down stolen from the chicks or the rooster with the crown. A Japanese American vegan found we cannot trade life for time yet time for life is abound. And perhaps we shall collapse all at once in a big meteoric volcanic blast. We've made it thus this far and the animals think the humans are strange But they've joined us on a path to fame.
Prompt: (((Masterpiece))) india ink storybook mixed media visualize this poem by Sproutfuel2: I am more weathered than any favorite sweater, yet made with more care than the quilters flare. Many generations passed not the original fabric, yet some hybrid of past. Woven in digital light, clothing expressions of human plight, every rip every tear every cat hair, or dog. Not a thread or a shred of wool from a sheep, leave them be in the field to bleat and sleep. Not to feather or any down stolen from the chicks or the rooster with the crown. A Japanese American vegan found we cannot trade life for time yet time for life is abound. And perhaps we shall collapse all at once in a big meteoric volcanic blast. We've made it thus this far and the animals think the humans are strange But they've joined us on a path to fame.
Prompt: Full-width, broad, 16:9 format of a delicate linocut all the way to the edge, rich colors, executed on rough handmade paper of poem number 92, Nijōin no Sanuki, of the Ogura Hyakunin Isshu: "Like a rock at sea, / At ebb-tide hidden from view, / Is my tear-drenched sleeve: / Never for a moment dry, / And no one knows it is there." The linocut shows a frontal close-up of a Japanese woman in an intricately patterned, richly colored ceremonial silk kimono. Her hands and underarms are hidden from view, each hand and underarm tucked away in the sleeve of the other hand, so that the lowest parts of the sleeves are bunched up. We do not see the bottoms of the sleeves, which are apparently wet with tears. The woman is stone-faced and stands in front of a row of yellow-leaved ginko saplings in fall. Color palette of rich colors, shades of red, yellow, magenta and blue in the kimono, yellow for the ginko leaves. Clarity of rendering, masterful print. 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 91, Gokyōgoku Sesshō Saki no Daijōdaijinn of the Ogura Hyakunin Isshu: "In my cold bed, / Drawing close my folded quilt, / I sleep alone, / While all through the frosty night / I hear a cricket's lonely sound." The linocut shows a close-up of a cricket at night on a wooden porch, with every detail highlighted and gleaming in the pale moonlight. Behind the cricket is a window through which we see the back of a young Japanese amn's head as he is lying on his side on a bed, his simple, padded quilt folded around him. The focus of the image is on the cricket. Linocut emulating traditional Japanese woodcut style, several layers, reduced color palette of rich colors, shades of blue, black, white and brown. Clarity of rendering, masterful print. 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 90, Inpumon-in no Taiyu, of the Ogura Hyakunin Isshu: "How I'd like to show him! / the sleeves of the fishermen / of Male Island / when it comes to wet, are wet indeed, / but their color doesn't change!" The image shows several Japanese fishermen in a simple, tub-shaped Tarai-bune boat. They are dressed in practical, durable work attire made from indigo-dyed, layered, and reinforced fabric. The fabric shos some ornamental stitching. The sleeves are large and open, and partly hang in the water as the fishermen draw in their cast nets full of fish. Yet the sleeves do not look wet. Artfully arranged, traditional woodcut. The sea around the boat is still and friendly, the sun is shining. The image is rendered as an exceedingly detailed, highly symbolic woodcut. The fishermen's dry-looking sleeves contrast with the symbolism of sleeves wet with tears, which signify sorrow, grief, or melancholy, a typical trope of Japanese literature, particularly from the Heian period. Clarity of rendering, symbolical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate acrylic painting sketch with dark outlines executed on rough handmade paper of poem number 89, Shokushi Naishinnō, of the Ogura Hyakunin Isshu: "O, jeweled thread of life! / if you are to break, then break now! / For, if I live on, / my ability to hide my love / will most surely weaken!" The image shows several strings of pearls hung from a hook on a white, wooden dresser topped by a white-framed, well-lit mirror. We see a young woman from the back sitting in front of the dresser. Her long, black hair is in a messy bun, and she is wearing a light-pink terrycloth bathrobe. She is sitting on a poufy chair and is watching her reflection in the mirror as she is putting on lipstick. One of the strings of pearls is about to break - its thread is frayed, and the ends of the frayed thread stick out from between the loosely strung pearls. The pearl necklaces and the woman's face are carefully rendered iwth many precise brushstrokes, whereas the remaining image is more roughly sketched so that the image focuses on the woman's head, her perfect reflection, and the hanging necklaces. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate, wet watercolor with contrasting warm indoor colors created by a lamp on a nightstand and chilly outdoor colors created by a pale moon, executed on rough handmade paper of poem number 88, Kōkamonin no Bettō, of the Ogura Hyakunin Isshu: "After one brief night-- / Short as a piece of the reeds / Growing in Naniwa bay-- / Must I forever long for him / With my whole heart, till life ends?" A contemporary teenage girl sits on her unmade bed, her arms hugging her knees, earphones covering her ears, as she is listening intently to sad music about love. Her blond hair is tousled, and she is in her pyjamas. Her night light is turned on on her nightstand and illuminates her from the side, casting her shadow against the half-opened window. Outside the window, we see reeds growing in a marsh environment, dully lit from above by a pale moon high in the sky. The young girl should actually be studying for a test tomorrow, but is consumed by her sad passion for a young girl she met at a party the other night. Quick, masterful brushstrokes perfectly capture the wet, misty autumn evening mood. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate, wet watercolor with chilly autumn colors, executed on rough handmade paper of poem number 87, Jakuren Hōshi, of the Ogura Hyakunin Isshu: "While the raindrops of / the passing shower have not yet dried from / near the leaves of the evergreens, / the mist is already rising, on / this evening in autumn." The image shows a closeup of a fir bough, with the needles dripping wet from a rainshower. The glassy, bluish drops on the dark-green fir needles are beautifully captured in watercolor. The fir bough stands out against a blue-gray mist wafting though the deciduous trees in their autumn dress, as darkness descends on the scene. Quick, masterful brushstrokes perfectly capture the wet, misty autumn evening mood. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with somber colors, executed on rough handmade paper of poem number 86, Saigyō Hōshi, of the Ogura Hyakunin Isshu: "Should I blame the moon / For bringing forth this sadness, / As if it pictured grief? / Lifting up my troubled face, / I regard it through my tears." The image shows a despondent young man in a dark overcoat with an upturned collar. His hands are defiantly stuffed deep in the pockets of his overcoat' as he gazes upward at the pale, full moon late at night. The pale light of the moon is reflected in his face, tears glinting in the moonlight. To the left and right of the narrow alley, tall, dark, dimly lit city buildings rise high. Amidst his tousled hair, his face is drawn in emotional pain, and tears are flowing from his eyes as he looks at the impervious moon. The young man's face and the pale blue-white moon's surface are exceedingly detailed, with a zentangle-like esthetic. The somber grays and blacks of the buildings with some smudged, dark yellowish lights in the windows, and the lighter grays of the moonlit street echo the young man's dark mood. Extreme detail, clarity of rendering, timeless, symbolical motif executed with great mastery. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed photograph showing the topic of poem number 82, Dōin Hōshi, of the Ogura Hyakunin Isshu: "Though in deep distress / Through your cruel blow, my life / Still is left to me. / But I cannot keep my tears; / They break forth from my grief." We see a chubby young actress from the back as she is sitting on an ornate chair in front of a dressing room table. She is dressed in a pretty, patterned silk t-shirt and jeans and is staring at her desolate, tear-streaked reflection in the dressing room mirror. The mirror is surrounded by lamps, so we se her face very clearly, whereas the surroundings are steeped in shadow. The young actress has just been severely reprimanded by her much-admired director and is now desolate, despondent and crying. The image is executed as a hyperrealistic photographic shot. Perfectly captured moment of deep despair. Exquisite shot for a photography contest.
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut with somber colors, executed on rough handmade paper of poem number 85, Shun’e Hōshi, of the Ogura Hyakunin Isshu: "Through an unsleeping night / Longingly I pass the hours, / While the day's dawn lags. / And now the bedroom shutters / Are keeping light and life from me." The image shows a young woman from the side as she is sitting in her bed, her knees drawn to her chin, and her arms hugging her knees. She is sitting on a soft bedpread that glints in what little light comes through the bedroom shutters. She is dressed in a loose-fitting, highly intricately patterned, cotton nightrobe tied with a satin sash. The linocut is exceedingly detailed, with a zentangle-like esthetic, and shows the jilted young lady waiting forlornly and in vain all night for her lover. The somber brown and anthracite colors befit her mood. Extreme detail, clarity of rendering, timeless, symbolical motif executed with great mastery. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 84 - Fujiwara no Kiyosuke Ason
Model:
AIVision
Size:
3840 X 2160
(8.29 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed, finely cut, multilayer linocut showing the topic of poem number 84, Fujiwara no Kiyosuke Ason, of the Ogura Hyakunin Isshu: "If I live on longer, / shall I again, I wonder, / yearn for these days? / The world that I once saw as / bitter, now, is dear to me." A dog-eared, somewhat faded, grainy, sepia photograph of a child in tattered winter clothing standing alone in an icy, mountainous landscape lies on a weathered, pockmarked, rough wooden table. The photograph close-up fills nearly the entire image. The child's face is dirty, its expression grim. The table stands in a dimly lit room, and is lit from above by a single, naked light bulb, which fully illuminates the photograph in extreme detail. The focus of the image is on the sepia photograph. The highly symbolic image is executed in shades of tan, brown and ivory. The linocut is so fine that we see every single detail of the grainy photograph and of the old, pockmarked table. Exquisite Japanese linocut folio in full 16:9 width.
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed, finely cut, multilayer linocut showing the topic of poem number 83, Dōin Hōshi, of the Ogura Hyakunin Isshu: "From this world I think / That there is nowhere to escape. / I wanted to hide / In the mountains' farthest depths; / But there I hear the stag's cry." see light from the hallway shining on an old, closed, heavy-plank wooden basement door. The door has a brass knob and shield-mounted stag antlers. The basement door leads to a refuge for the plagued poet to hide away when the worl becomes too much for him. Highly symbolic image. The linocut is so fine that we see every single wood fiber of the door's planks perfectly lit in dimensional detail, every twist and turn of the antlers, and every spot on the brass doorknob. Exquisite Japanese linocut folio in full 16:9 width.
Ogura Hyakunin Isshu No. 81 - Gotokudaiji no Sadaijin
Model:
AIVision
Size:
3840 X 2160
(8.29 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed, richly colored, multilayer, extremely finely tooled linocut of poem number 81, Gotokudaiji no Sadaijin, of the Ogura Hyakunin Isshu: "When I turned my look / Toward the place where I had heard / the cuckoo's call, / The only thing I found / Was the moon of early dawn." The early dawn of late spring is visible on the horizon, coloring the clouds and sky in magenta, pink, orange, and yellow. The sky above is turquoise, deepening to midnight blue the higher it rises over the horzon. In the distance, dark tree silhouettes line the horizon. Far above the horizon, in the darkest part of the sky, sits a tiny crescent moon, just a very small, white sliver high in the sky. A very small bird silhouette stands out dark against the low yellow of the horizon. The bird, a lesser cuckoo, is symbolic of the beginning of summer. Masterful, painstakingly executed, extremely detailed linocut combined with a wet watercolor wash. Exquisite Japanese foilio.
Ogura Hyakunin Isshu No. 80 - Taikenmon-in no Horikawa
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a delicate linocut executed on rough handmade paper of poem number 80, Taikenmon-in no Horikawa, of the Ogura Hyakunin Isshu: "I do not evn know / how long your feelings will last. / My long black hair / is all diheveled and, this morning, / my thoughts, too, are in a tangle!" The image shows a young, contemprary Japanese woman sitting crosslegged and barefoot on her futon in her small, sparsely furnished but tidy apartment. She is hanging her head in confusion, and has her palms up to her face, covering her face fully. Her long, black hair is tangled. She is wearing a modern silk morning robe with a tiny, beautiful floral pattern in rich pastels. The early morning sun is streaming in the window, highlighting her tangled hair and her silk morning robe. The color palette otherwise is reduced to tans, ivory and brown, so that the hair and the morning robe are highlighted. The image is rendered as an exceedingly detailed, zentangle-like linocut. The hair and the morning robe are executed in profound detail, whereas the surroundings are executed more schematically. Extreme detail, clarity of rendering, timeless, symbolical morning-after motif combining a traditional linocut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Prompt: Full-screen, complete width, broad, 16:9 format of an extremely detailed, multilayer linocut of poem number 79, Sakyō Dayū Akisuke, of the Ogura Hyakunin Isshu: "See how clear and bright / Is the moonlight finding was / through the riven clouds / That, with drifting autumn wind, / Gracefully float in the sky." The night sky is filled with altocumulus clouds between which a crescent moon throws shafts of light onto the dark, windblown autumn meadow. The clouds closest to the moon are backlit by the white crescent moon. The other clouds are grayish, or even black at the edges of the midnight-blue sky. The moon and the clouds close to it take pride of place in this masterful, extremely detailed linocut. Exquisite Japanese foilio.
Ogura Hyakunin Isshu No. 78 - Minamoto no Kanemasa
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen, complete width, broad, 16:9 format of a powerful silk screen print of poem number 78, Minamoto no Kanemasa, of the Ogura Hyakunin Isshu: "Guards of Suma Gate, / From your sleep, how many nights have you awakened / At the creis of sanderlings / Flying from Awaji Island?" We see a flock of sanderlings (sandpipers) flapping over Suma Gate. A guard dressed in ō-yoroi armor (a large, box-shaped, heavy suit made from dark, burnished leather plates connected by cords) is standing, feet planted firmly on the ground far apart, looks up at the flock with an irritated mien. The sanderlings are dark against the night sky, and the guard is lit by the fire of oil lamps on either side of Suma Gate, making him look tall and menacing. The image focuses fully on the guard and his armor as well as the action above his head. Solid, striking design, silk screen print using thick, textured ink in bold, consistent colors with clear, sharp edges. Exquisite Japanese foilio.
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: 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.
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.
