Prompt: 16:9 format of a delicate linocut, additionally hand-colored of a black, palatial, intricately worked, wrought-iron gate in a state of disrepair. The gate is attached to a crumbling red brick wall on either side that encloses an overgrown garden that must have been splendid. Now, the garden is overgrown with grass, blooming weeds, tall, shady trees, and brambles overgrowing profusely blooming roses in all shades of pink. Dappled sunlight filters through to highlight the roses. The garden view is visible through the old gate. The patterns in the image are highly complex, combining a multi-layered linocut print with hand coloring.
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.
Ogura Hyakunin Isshu No. 18 - Fujiwara no Toshiyuki
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
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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 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.
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 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 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 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.
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: Full-width image, 16:9, mixed media, contemporary watercolor in the style of Jaroslaw Filipek and Stanislav Bojankov, of a savanna landscape during the dry season. Close-up of a herd of zebras is grazing, heads down. A single, polka-dotted zebra stands apart with its head raised. This separate zebra has black-and-white polka dot markings. The polka-dotted zebra stands out among the herd. The divergent zebra is looking at the viewer. It is extremely painstakingly rendered, whereas the herd and the savanna grassland with a single tree giving shelter from the hot sun are more sketchily rendered with wet watercolor. Very brilliant, rich colors, hyperrealistic atmosphere.
Ogura Hyakunin Isshu No. 32 - Harumichi no Tsuraki
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
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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)
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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)
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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.
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.
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 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 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: kovndfko ndfn dfn dn e fjefnbvoefmvokefmb ojefvjefbm . Unequal partnership:Enchanted image:Legendary artwork.presenting a unique situation, character, or magical element,extreme high quality colors and textures.extreme high quality colors extreme beautiful Beauty.extreme 3D high quality effect.extreme visual effects.extreme masterpiece extreme award-winning masterpiece.rich in detail and texture.lavish Rich colors world's greatest AI image ever made.Striking Arresting Conspicuous Noticeable Impressive Spectacular Breathtaking Attention-grabbing high-resolution images, sharp images, crystal-clear pictures A "masterpiece", "magnum opus", "chef-d'oeuvre",crowning achievement"elaborate, intricate, comprehensive, exhaustive, minute, meticulous.Elite award winners:. Top-tier award recipients. Distinguished champions . Renowned award winners. Beauty and the Beast he's a giver she's a taker Unequal partnership:Enchanted image:Legendary artwork.presenting a unique situation, character, or magical element,extreme high quality colors and textures.extreme high quality colors extreme beautiful Beauty.extreme 3D high quality effect.extreme visual effects.extreme masterpiece extreme award-winning masterpiece.rich in detail and texture.lavish Rich colors world's greatest AI image ever made.Striking Arresting Conspicuous Noticeable Impressive Spectacular Breathtaking Attention-grabbing high-resolution images, sharp images, crystal-clear pictures A "masterpiece", "magnum opus", "chef-d'oeuvre",crowning achievement"elaborate, intricate, comprehensive, exhaustive, minute, meticulous.Elite award winners:. Top-tier award recipients. Distinguished champions . Renowned award winners. Prize-winning champions. Laureate champions. Acclaimed champions
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.
