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 47, Egyō Hōshi, of the Ogura Hyakunin Isshu: "To the lonely house / where the weeds, eight layers deep, / have grown rank, / not a soul can be seen - / but autumn, at least, has come." This image shows a simple, dilapidated Japanese hut made of stone in the midst of high, dry, spent weeds that have gone to seed. Some of the weedy vines have engulfed the hut and have climbed almost all the way to the roof. It is autumn, and the air is crisp, the sky is blue with puffy, white clouds. The lovely fall day hides the fact that the house is lonely, decrepit, and that winter is around the corner. The hut symbolizes a person in the fall of life. The image is executed as a detailed, highly symbolic woodcut, with a strong, rich, wet watercolor wash overlay. Extreme detail, clarity of rendering, timeless motif combined with a classical woodcut esthetic and masterful technique. Exquisite Japanese folio.
Prompt: Masterpiece, a delicate ink and watercolor wash rendering on rough handmade paper. A scene captures the poignant despair of poem from the Ogura Hyakunin Isshu. A desperate young Japanese man stands outside in a meticulously rendered bamboo patch, his figure etched with fine quill strokes and somber washes of indigo and grey. His expression is full of longing and anguish as he gazes toward a large, modern window wall. Inside the chic, open-plan house, a young Japanese woman prepares tea, her back turned to him. Her posture is deliberate and detached, rendered with elegant lines and soft, cool washes of muted color. The bamboo patch surrounding the man is painstakingly detailed with woodcut-like precision each stalk defined by sharp ink lines and layered greens, symbolizing both natural beauty and emotional isolation. The interior of the house is rendered in a soft bokeh style, with blurred shapes and diffuse light suggesting furniture, kitchen elements, and ambient warmth. This contrast highlights the man’s exclusion and the woman’s emotional distance. Dynamic lighting emphasizes the separation: cool moonlight outside, warm artificial light inside. The mood is tense, modern, and deeply melancholic, blending traditional woodcut artistry with contemporary emotional themes. bokeh, sharp focus, elegant, extremely detailed, intricate, beautiful, dynamic lighting, award-winning, ultra-detailed, high definition, crisp quality, woodblock print, rich colors, urban, screen-filling size.
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 46, Sone no Yoshitada,of the Ogura Hyakunin Isshu: "Like a mariner / Sailing over Yura's strait / With his rudder gone: / Where, over the deep of love, / The end lies, I do not know." This image shows a Japanese sailor in a small skiff being tossed about by Hokusai-style waves. The young Japanese sailor has lost one of his two oars, so he is quite distraught and lacks orientation in the high waves. The weather is stormy, with rain and wind driving the the skiff in all directions. The image is executed as a detailed, highly symbolic woodcut, with the young sailor lost and without direction in the straits of love. Extreme detail, timeless motif combined with a classical woodcut esthetic and 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 45, Kentokukō,of the Ogura Hyakunin Isshu: "Not one person who would / call my plight pathetic / comes at all to mind, / and so, uselessly, / I must surely die!" This image shows a desparate, young Japanese man standing in front of a large, modern window wall of in a very chic, open-plan house. He is standing outside in a bamboo patch, trying to gain the attention of the young Japanese woman inside the house. She is ignoring him, with her back turned to him, as she prepares tea in the kitchen. The young woman has spurned his love countless times, but he continues to persistently stalk her. The image combines an extremely detailed, richly colored, old-fashined woodcut technique with contemporary bokeh elements and some impasto abstraction. The two figures stand out in great detail, and the bamboo patch is painstakingly rendered as a woodcut, but the background, the open-plan house, is rendered in bokeh. Extreme detail, cutting-edge contemporary motif combined with old-fashioned artistic elements. 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 44, Chūnagon Asatada, of the Ogura Hyakunin Isshu: "If it should happen / That we never met again, / I would not complain; / And I doubt that she or I / Would feel that we were left alone." Two realistic, young, chic, urban, contemporary Japanese in their early twenties are standing completely back to back, ignoring each other. One is a young Japanese woman dressed as a Gothic Lolita. With his back to her, the second person is a young Japanese man in candy-colored, frilly and demure Jirai Danshi fashion that makes him look very feminine and coy. The two had a one-night stand, but, as they obviously live in very different spheres, their love is over. Now, they're ignoring each other and pretending that they're strangers. The image combines an extremely detailed, richly colored, linocut technique with contemporary bokeh elements and looks a bit like a realistic Lomo photograph. The clothes are shown in great detail, but the background, an urban setting, is bokeh. Extreme detail, cutting-edge contemporary motif. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 43 - Fujiwara no Atsutada
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 43, Fujiwara no Atsutada, of the Ogura Hyakunin Isshu: "I have met my love. / When I compare this present / With feelings of the past, / My passion is now as if / I have never loved before." The image shows a young, pretty, dreamy-eyed, well-dressed Japanese salesgirl behind the well-lit perfume counter of a large department store, where she works. She is not concentrating on her work, but rather is leaning over the counter and is visibly contemplating a recent memory of being with her new love. The image combines an extremely detailed, richly colored, woodcut technique with watercolor and is executed in the style of Hokusai. Extreme detail, contemporary motif. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 42 - Kiyohara no Motosuke
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
Prompt: Full-screen 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 42, Kiyohara no Motosukei, of the Ogura Hyakunin Isshu: "Our sleves were wet with tears / As pledges that our love - / Will last until / Over Sue's Mount of Pines / Ocean waves are breaking." The image shows a forlorn, weeping young Japanese man in a very ornately woven and patterned, red suikan. The garment is very loose-fitting and has very large sleeves. He is wiping his eyes with one wet sleeve as if it were a tissue. His lover's feelings have grown cold, even though the lovers had sworn each other eternal love during their time of passion. The man is standing in front of a pine tree rendered in high detailed; the pine tree is growing on Sue-no-Matsu Mountain. The image combines an extremely detailed, richly colored, woodcut technique with watercolor and is executed in the style of Hokusai. Extreme detail, lively motif. Masterful technique. Exquisite Japanese folio.
Prompt: Full-screen 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 41, Mibu no Tadami, of the Ogura Hyakunin Isshu: "My name already / is bandied about with / rumors I'm in love - / though, unknown to anyone, I thought, / I had only just begun to love her!" The image shows an animated group of four young Japanese salarymen sitting at a bar counter after work, engaged in eye-winking, lighthearted banter. One of the young men cups his hand near another's ear and is whispering something. The third young man in the group is looking lovelorn at a beautiful, contemporary young Japanese woman sitting apart from the group at the other end of the L-shaped bar. She has coyly and demurely lowered her eyes. The image combines an extremely detailed, richly colored, mineral pigment technique with watercolor and is rendered according to Nihonga art principles. Deft execution, whimsical motif. Masterful technique. Exquisite Japanese folio.
Prompt: Masterpiece, a delicate ink and watercolor wash rendering on rough handmade paper. An exploded, patchwork portrait of a beautiful ancient geisha princess unfolds, blending fractured elegance with poetic chaos. Her face is deconstructed into geometric fragments, each piece rendered with fine quill strokes and layered washes of bittersweet, Indian red, redwood, cordovan, quinacridone magenta, Tyrian purple, and Russian violet. These colors merge and bleed into one another, creating a tapestry of rich, emotional depth. Her traditional geisha features—elaborate hair adorned with delicate pins and a serene yet solemn expression—are reassembled with meticulous precision, yet disrupted by abstract, unstructured maximalist elements. Splatters of ink and watercolor suggest rain-soaked textures, while sharp lines and soft washes balance hyper-structured minimalism with unstructured freedom. The background evokes a rainy night canvas, with dark, moody washes of indigo and charcoal contrasting against pastel highlights. The mood is uncertain, solemn, and dreamlike, capturing a sense of fractured beauty and timeless grace. exploded, patchwork, geometric, emotional, solemn, award-winning, ultra-detailed, high definition, crisp quality, watercolor, ink, rich colors, graceful, screen-filling, atmospheric.
Prompt: マンション haunted with apparitions from HIROSHIMA. USE OCTANE RENDER, TEXT POLITICALLY SENSITIVE on tape, INCLUDE AWARD WINNING PHOTOGRAPHY, HD16k, cinematic lighting, chiaroscuro walls and tatami, ghosts with cobalt blue eyes octane render
Prompt: Peach party with matsuri tone. Full of peaches with gaming vibe. The streets are flooded with Japanese toro lanterns and Torii aesthetics, and participants wearing matsuri kimono.
Prompt: Full-screen 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 40, Taira no Kanemori, of the Ogura Hyakunin Isshu: "Evem though I hide it, / it shows all over my face, / such is my longing, / so that people ask me / 'What are you thinking about?' " A contemporary, handsome, lithe, adolescent Japanese man dressed unassumingly in a white shirt and dark slacks stands half in, half outside a wood slat closet door. He has a pained look on his face, and is holding the doorknob, trying to decide whether he should come out of the closet or go inside. The hidden part of this young man's figure can be seen in the spaces between the vertical wooden slats. Combination linocut and woodcut, richly hand-colored additionally with watercolors, executed in a style reminiscent of Kawase Hasui. Deft execution, melancholy motif. Old masters' technique. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 39, Sangi Hitoshi, of the Ogura Hyakunin Isshu: "Though I reveal my love / as sparingly as the sparse reeds / that grow in low bamboo fields, / it overwhelms me - why is it / that I must love her so?" We see a gently sloping, green meadow densely populated by shorter reed grass, among which stands taller bamboo grass. Extreme woodcut esthetic. The sky is filled with little, puffy clouds rendered as woodcut lines that, upon closer inspection, hide the barely discernible image of a Japanese man. The Japanese man is definitely to be made out in the clouds. Combination linocut and woodcut, hand-colored additionally with watercolors, executed in a style reminiscent of Kawase Hasui. Deft execution, melancholy motif. Old masters' technique. Exquisite Japanese folio.
Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 38, Ukon, of the Ogura Hyakunin Isshu: "Forgotten by him / I do not think of myself. / But I can't help worry / about the life of the man who / swore so fervently before the gods!" A contemporary woman spurned by her lover sits sadly and contemplatively on a Japanese platform-style bed made of dark wood. The bed is pristine and perfectly made up with light-brown sheets and pillows. The elegant, young woman is despondently holding her head in her palms and is staring glumly out of the window of her high-rise apartment. The quiet of the starkly decorated, perfectly arranged apartment contrasts with the apparent bustling, busy, urban life outside. She is elegantly clothed in a gold-and-white silk kimono with a woven bird pattern. Combination watercolor and woodcut, executed in a style reminiscent of Kawase Hasui. Deft execution, melancholy motif. Old masters' technique. Exquisite Japanese folio.
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: 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.
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.
