THE TECHNIQUE OF EMPTINESS IN HAIKU POETRY AND  THE WHITE SPACE IN JAPANESE INK WASH PAINTINGS

Nguyễn Diệu Minh Chân Như

doi:10.34238/tnu-jst.5650

THE TECHNIQUE OF EMPTINESS IN HAIKU POETRY AND THE WHITE SPACE IN JAPANESE INK WASH PAINTINGS

About this article

Received: 09/03/22 Revised: 25/03/22 Published: 25/03/22

Authors

Nguyen Dieu Minh Chan Nhu , Dong Thap University

Abstract

Regarding the relationship between poetry and painting in Oriental culture, there that a poem could be a painting, and a painting could evoke poetic ideas. However, there has been modest research devoted to exploring this relationship. Based on interdisciplinary comparative theory in comparative literature and close investigation into the corpus of 102 haiku poems and 98 ink wash paintings in Japan from the 17th to 19th century, the paper aims at investigating the intersection between haiku poetry and ink wash paintings. The findings show that the similarity between the two art forms refers to the emptiness in haiku poems and the white space in ink wash paintings. It is expected that the research would shed a light on the approach to study haiku poetry and offer initial ideas to interpret ink wash paintings which are a well-established art form but have not received substantial research in Vietnam. Besides, the researcher hopes that the practical results would contribute to a deeper insight into the theory of comparative typology in modern comparative literature, paving the way for further relevant studies.

Keywords

Emptiness; Haiku poetry; Ink wash paintings; Comparative literature; Interdisciplinary comparative theory

Full Text:

PDF

References

[1] D. M. C. N. Nguyen, “Zen aesthetics influence in Basho poems,” Culture and arts Magazine, vol. 310, no. 4, pp. 66-69, 2010.

[2] D. M. C. N. Nguyen, “The aesthetic sense of “pingdan” in the four line poem of Wang Wei,” Ho Chi Minh City of Pedagogy Social Sciences and Humanities, vol. 20(54), no. 05, pp. 50-56, 2010.

[3] D. M. C. N. Nguyen, “Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University,” Vietnam Journal of Education (VJE) – Vietnam Ministry of Education and Training, vol. 5, no. 2, pp. 52-60, 2021.

[4] D. M. C. N. Nguyen, “Relationship between Chinese traditional poetry and paintings,” Culture and arts Magazine, vol. 400, no. 10, pp. 66-69, 2017.

[5] P. K. Nguyen, “Japanese traditional aesthetics form cultural perspective,” Journal of Science and Technology - The University of Danang, vol. 131, no. 10, pp. 35-40, 2018.

[6] T. N. T. Nguyen, “Wangwei and Yosa Buson – “Painting in poems,” Ho Chi Minh City of Pedagogy Social Sciences and Humanities, vol. 38, no. 8, pp. 53-62, 2012.

[7] J. Francoise, Discuss about the pale (translated by Truong Thi An Na). Da Nang: Da Nang Publishing House, 2003.

[8] D. M. C. N. Nguyen, “Meditation sensitive experience in receiving Haiku poetry and classical ink painting,” Ho Chi Minh City Journal of science, vol. 19, no. 1, pp. 31-41, 2022.

[9] P. Luu, China’s traditional poetics (school of thoughts – categories- clauses). University of Education Publishing House, Ha Noi, 2017.

[10] T. Shuji, The Japanese sense of beauty (translated by Matt Treywaud). Japan Publishing Industry Foundation for Culture, 2018.

[11] K. P. Nguyen, Japan from aesthetic to literature. Hanoi: VNU Publishing House, 2018.

[12] I. Ysushi, Laws of haiku poem (translated by Nguyen Vu Quynh Nhu and Vu Doan Lien Khe). Ho Chi Minh city: VNU publishing House, 2020.

[13] N. Chieu, Three thousand fragrant worlds. Hanoi: Literature Publishing House, 2015.

[14] H. C. Cao and L. T. Mai, The art of using language in Tang dynasty poem (translated by Tran Dinh Su and Le Tam). Hanoi: Literature Publishing House, 2000.

[15] N. Chieu, Basho and haiku poem. Ho Chi Minh city: General Publishing House, 1994.

DOI: https://doi.org/10.34238/tnu-jst.5650

Refbacks

There are currently no refbacks.



Remember me