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.
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: 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 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: 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: 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.
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.
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.
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.
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 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.
Ogura Hyakunin Isshu No. 49 - Onakatomi no Yoshinobu
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
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 49, Onakatomi no Yoshinobu, of the Ogura Hyakunin Isshu: "Like the guard's fires / Kept at the imperial gateway-- / Burning through the night, / Dull in ashes through the day-- / Is the love aglow in me." The image shows an impressive, massive, ornate,pompous imperial gate to the emperor's court. On the left side and on the right side of the gate, a guard's fire is burning brightly, illuminating the gate and the immediate surroundings. The edges of the image are dark, and the starr-filled sky is dark. The image focuses fully on the guard fires and the ornate gate between them. The fires are burining in metal braziers in the shape of large bowls, and they are sending bright sparks into the air above. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. The gate and the fires are executed in profound detail, whereas the surroundings are executed more hastily. The composition is lively. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 50 - Fujiwara no Yoshitaka
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
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 50, Fujiwara no Yoshitaka, of the Ogura Hyakunin Isshu: "Even the life that / I'd not have been sorry to lose / just to meet you once, / now, having met, I think: / 'I want it to last forever'!" The image shows a futon in a Japanese house with messy bedclothes and a sumptuous, exquisitely embroidered silk bed spread, crumpled by the bedside. The bedspread has the sheen of silk and a highly ornate bird-and-blossom pattern in exquisite colors - shades of green, pink, magenta, burgundy and yellow - and is the focus of the image. The silk bedspread symbolizes the poet's love for his lover on the morning after. The stark bed and room contrast sharply with the floral sumptuousness of the bedspread. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 51 - Fujiwara no Sanekata
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
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 51, Fujiwara no Sanekata, of the Ogura Hyakunin Isshu: "How can I tell her / How fierce my love for her is? / Will she understand / That the love I feel for her / Burns like Ibuki's fire plant?" The image shows an well-polished, ancient oak table with a bundle of dried mugwort tied with a satin ribbon. Next to the bundle of dried mugwort lies a moxibustion set. The therapy room in which the table stands is dark, only the table and the moxibustion parapernelia are well-lit. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like woodcut, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combined with a classical woodcut and contemporary zentangle esthetic and masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 52 - Fujiwara no Michinobu Ason
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
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 52, Fujiwara no Michinobu Ason, of the Ogura Hyakunin Isshu: "Though I know indeed / That the night will come again / After day has dawned, / Still, in truth, I hate the sight / Of the morning's coming light." The image shows a very early, cold dawn outside the window of a spartan room. The light of dawn shows in shades of blue, pale yellow, and delicate orange on the horizon, whereas the sky higher up is still very dark blue. The view of the window toward the Eastern sky is from an unmade bed with crumpled sheets. The image is rendered as an exceedingly detailed, highly symbolic zentangle-like wet watercolor, with strong, rich and varied colors. Extreme detail, clarity of rendering, timeless, symbolical motif combining wet watercolor with a low-poly and contemporary zentangle esthetic. Masterful technique. Exquisite Japanese folio.
Ogura Hyakunin Isshu No. 53 - Udaishō Michitsuna no Haha
Model:
AIVision
Size:
5960 X 3352
(19.98 MP)
Used settings:
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 53, Udaishō Michitsuna no Haha, of the Ogura Hyakunin Isshu: "Lying all alone, / Through the hours of the night, / Till the daylight comes: / Can you realize at all / The emptiness of that night?" The image shows a lonely, contemporary Japanese woman dressed in a silk bathrobe she is hugging tightly around her. She is standing at the window of her apartment, looking out into the gloomy night sky, her back to us. She is in her bedroom, wainting for daybreak. She reflects on her emotional pain, frustration and loneliness. Her husband is spending time with his mistress and has abandoned his wife to solitude and melancholy. The nighttime sky is overcast, and the entire image seems steeped in darkness, except for a dim night light located outside the image on the right-hand side. The dim light strikes the woman's silhouette from the right, so that the pattern of her silk bathrobe and her messily arranged hairdo become visible, and casts faint shadows that put the left side of the image into complete darkness. The colors range from faint yellow to deep, velvety black, with a range of blues and grays in between. The image is rendered as an exceedingly detailed, highly symbolic, large, zentangle-like woodcut with enormous detail. Clarity of rendering, timeless, symbolical motif combining a traditional woodcut with a contemporary zentangle esthetic. 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.
