Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 37, Fun’ya no Asayasu, of the Ogura Hyakunin Isshu: "In the autumn fields / When the heedless wind blows by / Over the pure-white dew, / How the myriad unstrung gems / Are scattered everywhere around." This poem uses fairly common imagery: Glistening, refractive, rainbow-color-reflecting, opalescent, sparkling, jewel-like dewdrops densely covering the crumpled leaves of fall shine like pearls and gemstones. The image focuses on the sunshine on fallen leaves on the forest floor and their sparkly dewdrops. Some leaves are being whirled about by the wind, spraying their gemstone-like dewdrops through the air to create a glittering spectacle with a bokeh esthetic. The gust of wind is made visible by almost comic-like parallel lines and curls. Combination watercolor and woodcut, executed in a style reminiscent of Kawase Hasui. Deft execution, whimsical, peaceful, nature motif. Old masters' 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 35, Ki no Tsurayuki, of the Ogura Hyakunin Isshu: "The depths of the hearts / Of humankind cannot be known. / But in my birthplace / The plum blossoms smell the same / As in the years gone by." The image shows an unassuming-looking, older, contemporary Japanese man looking out of a train window, his head resting on his palm, and his elbow on the windowsill. He is contemplating the sunny, early spring landscape outside the train window. As if in a perfect snapshot, a single, magnificent plum tree in full bloom stands on a grassy meadow and can be seen right in the middle of the windowpane, with only the left side of the tree slightly obscured by the profile of the man looking out of the window. Combination watercolor and woodcut, executed in a style reminiscent of Kawase Hasui. Deft execution, introspective, peaceful, melancholy motif. The view out of the window is rendered in pastel spring colors, contrasting with the darker, shaded tones of the man inside the train window. Old masters' 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 34, Fujiwara no Okikaze, of the Ogura Hyakunin Isshu: "IWho is still alive / When I have grown so old / That I can call my friends? / Even Takasago's pines / No longer offer comfort." The image focueses on a single, ancient secred, venerable pine tree, with a split trunk and twisted limbs. The iconic pine tree stands before Takasago Shrine. The shrine can be made out behind the branches of the pine tree. The single, old pine tree symbolizes the loneliness of age. Combination lithograph and woodcut, executed in a styles reminiscent of Kawase Hasui. Deft execution, introspective, peaceful, melancholy nature motif rendered in dark colors. Old masters' 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 33, Ki no Tomonori, of the Ogura Hyakunin Isshu: "In these spring days / with the tranquil light encompassing / the four directions / why should the blossoms scatter / with uneasy hearts?" The image shows a line of Sakura cherry trees in two-point perspective leading from the left lower-hand corner of the image to the horizon and the last third of the image. The cherry trees are in full bloom, with rich, double blossoms in shades of pink to magenta, under a peaceful spring sun. The grassy meadow under the cherry trees is fresh and green. A Zephyr is blowing, tossing about fallen blossoms that whirl thorugh the air. The sweep of the wind is made visible by many parallel, elegantly curved woodcut lines. Combination lithograph and woodcut, executed in a styles reminiscent of Kawase Hasui. Deft execution, introspective, peaceful nature motif. The whirling blossoms add a melancholy note of transience to the spring tableau. Old masters' technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 32 - Harumichi no Tsuraki
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: 16:9 format of a painstakingly detailed, multilayer, delicate lithograph and multilayered woodblock rendering on rough handmade paper of poem number 32, Harumichi no Tsuraki, of the Ogura Hyakunin Isshu: "Ah, the weir / that the wind has flung / across the mountain stram / is the autumn foliage that cannot flow on, / even though it would." The image shows a silvery mountain creek cascading over rocks and pooling at the right-lower-hand corner of the image, where a pile of wet, bunched-up maple leaves turned soggy and brown lies on the creek, stlowing down the flow and damming up the waters. More red maple leaves are falling from the trees above, fluttering through the cold air. The sides of the small brook are iced over with thin shards of late-autumn ice. A pale, yellow sun catches in the reflections of the stream and the wet rocks. Lithograph and woodcut execution in styles reminiscent of Kawase Hasui. Deft execution, introspective nature motif. Old masters' technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 31 - Sakanoue no Korenori
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: 16:9 format of a painstakingly detailed, multilayer, delicate lithograph and watercolor wash rendering on rough handmade paper of poem number 31, Sakanoue no Korenori, of the Ogura Hyakunin Isshu: "At the break of day, / Just as though the morning moon / Lightened the dim scene, / Yoshino's village lay / In a haze of falling snow.on." The image shows a hazy moon shining on Yohino valley in a dim, slow, struggling winter dawn. Snow is slowly drifting through the sky, settling on the houses in Yoshino valley in the hazy light of a nearly transparent moon. It is still and cold, with the main colors being shades of gray, blue and white. Yellow light shines from the windows of the houses in the valley below. Highly detailed, intricate, mulitlayer lithograph and woodcut execution. Old masters' technique. Exquisite Japanese folio.
Prompt: 16:9 format of a painstakingly detailed, multilayer, delicate lithograph and watercolor wash rendering on rough handmade paper of poem number 30, Mibu no Tadamine, of the Ogura Hyakunin Isshu: "There is nothing so depressing / as the break of day / and leaving you after / having seen the heartless / morning moon." The image shows only part of the moon, a last quarter (or third-quarter) moon, which looks like a half-moon, in a ghostly bone-white in the sky at dawn. The horizon is turning pink and golden, whereas the sky above is still progressively darker blue. The horizon consists of a single, sinously curved mountain line, curved like the body of a woman lying on her side, but the landscape is still mostly pitch-black with shades of blue. The horizon and sky make up 90% of the image, whereas the mountain line and the landscape below accoutn fro only 10% of the image. Chilly ambiance, executed in the highly detailed, intricate, lithograph and watercolor wash technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 28 - Minamoto no Muneyuki Ason
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 28, Minamoto no Muneyuki Ason, of the Ogura Hyakunin Isshu: "In the mountain village, / it is in winter that my loneliness / increases most, / when I think how both have dried up, / the grasses and people's visits." The image shows a remote Japanese house of antiquity on a mountain slope. Snow drifts have piled up along the outer walls and on the roof of the house. A low-ranking official of the Heian Court is peering out of the window of his house. Snowflakes whirled about by a blizzard visualize the path of the icy winds blowing. The image is carefully executed as an imaginative linocut with hand coloring in watercolor. Shades of blue, white and gray predominate, with the only touch of color being the yellow light in the window and the figure of the Japanese court official in the window. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 29 - Ōshikōchi no Mitsune
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 29, Ōshikōchi no Mitsune, of the Ogura Hyakunin Isshu: "Must it be by chance, / if I am to pluck one, that I pluck it? - / white chrysanthemums / on which the first frost / lies bewilderingly." The image shows a close-up of a single, magnificent white chrysanthemum with dozens of petals. The first frost, a hoarforst, lies on the petals. Each petal is covered with dozens of tiny, crystalline frost grains. The golden sun is shining on the petals, causing each and every hoarfrost crystal to reflect rainbow colors, so that the entire chrysanthemum blossom shines and shimmers with rainbow light reflections. Breathtaking nature spectacle executed in the most painstaking linocut and watercolor wash technique. Exquisite Japanese folio.
Prompt: An old limerick :
A wonderful bird is the pelican,
His bill will hold more than his belican.
He can take in his beak
Food enough for a week,
But I'm damned if I see how the helican!"
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 27, Chūnagon Kanésuké, of the Ogura Hyakunin Isshu: "Like Izumi River / that wells up and flows, / dividing the Moors of Urns / when did I see her, I wonder, / fthat I should yearn for her so?" The image shows lively river flowing wiht currents and eddies, which flow together to show a lovely Japanese woman of antiquity, if you look closely. The patterns in the image are highly complex, with a woodcut esthetic. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 26, Teishinkō, of the Ogura Hyakunin Isshu: "O autumn leaves / on the peak of Ogural Hill, / if you have a heart, / I would that you would wait / for one more royal progress." The image shows a single, old, large, magnificent Japanese maple tree with a gnarled trunk, winding branches, and feathery, scarlet leaves. The tree stands on a gently sloping, green, grassy mountainside. Some maple leaves are drifting downward on a breeze; they are curled into heart shapes. The leaves are awaiting a visit by the emperor. The patterns in the image are highly complex, with a woodcut esthetic. Exquisite Japanese folio.
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: Zoom in! A melancholic young woman with long, wavy red hair sits on the edge of the ocean water, her gaze directed downward, lost in thought. She wears a delicate, translucent blue dress with polka dots and a subtle light orange ribbon cinching her waist. The background sky is dark and moody, creating a stark contrast to her gentle features and the soft fabric of her dress. Beside her, on the sand, sits a small oyster white shell, adding an element of intrigue to the scene. The overall atmosphere conveys a sense of contemplation and introspection. The dark navy background with gradual lightening approach the woman. Full head and body are in frame. Masterpiece of unprecedented beauty with elements of impressionism.Mixed media. Multicolored dotted pattern with tiny flowers in the foreground. The conflagration of earth and sea and a together. elegant masterpiece Artistic flair.
Close-up.
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: Pink roses for a night of mystical romance. Their petals are painted in layered strokes of fuchsia and blush, with the outer edges delicately touched by hints of coral and creamy white.
A vibrant mosaic of Pink roses stands out against a colorful background of emerald, white and golden hues, creating a striking and artistic floral display.
A masterpiece of fragmentary mosaic cubism. The composition is created from flat plates of various natural minerals with a predominance of green jade, pink topaz and amber of different shades and transparency. Theme of the composition: Close-up
Stylization. Artistic and aesthetic exaggeration with elements of surrealism. Harmonious color combination of local fragments of the painting and its overall structure. Full-scale image.
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: 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.
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.
