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NGUYEN DIEU MINH CHAN NHU

ZEN NATURE IN HAIKU POETRY

AND JAPANESE INK WASH PAINTINGS

Major: FOREIGN LITERATURE

Code: 9.22.02.42

SUMMARY OF DOCTORAL DISSERTATION ON LITERATURE

HANOI, 2022

Dissertation Guidance:

Assoc.Prof PhD NGUYEN THI MAI LIEN PhD NGUYEN THI DIEU LINH

Supervisor 1: Assoc.Prof PhD DO THU HA – Hanoi University of

Social Sciences and Humanities

Supervisor 2: Assoc.Prof PhD PHUNG NGOC KIEN – Institute of

Literature

Supervisor 3: Assoc.Prof PhD NGUYEN THI MAI CHANH – Hanoi

National University of Education

The dissertation will be presented in front of Supervisor Board of Hanoi

University of Education at …., on… 2022

Library of Hanoi National University of Education

PUBLISHED RESEARCH RELATED TO THE DISSERTATION

1 Nguyen Dieu Minh Chan Nhu (2021), “Approaching Classical Japanese HaikuPoetry through the Perspective of Ink Painting Art and Application to TeachingForeign 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.

2 Nguyen Dieu Minh Chan Nhu (2022), “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.

3 Nguyen Dieu Minh Chan Nhu (2022), “The technique of emptiness in haiku poetryand the white space in Japanese ink wash paintings”, TNU Journal of Science andTechnology, Vol.227, no.4, pp.100-108

4 Nguyen Dieu Minh Chan Nhu (2021), “Aesthetic sensibility of ưabi in haiku

poetry and Japanese classic ink wash paintitngs”, Van hoc va Ngon ngu trong the

gioi duong dai – Ban sac va hoi nhap, Hanoi national, University of Education,

Faculty of Philology, Vietnam Education Publishing House Limited Company,Hanoi, pp 504-517

1 Rational of the study

1.1 Haiku poetry (Japanese: 俳句, Sino-Vietnamese: Bai Cu) is a Japan’unique form of poetry In the twenty-first century, from a typical Japanesepoetic form, haiku has spread out of a country’s boundary into a globalizationscale of influence, expresssing great spiritual values in the mankind’s literature

in particular As a result, studying haiku poetry will help open an access toJapanese souls

1.2 Mac hoi paintings (or Sumi-e -墨絵 in Japanese) also known as inkwash painting - a type of brush painting, popularly practiced in East Asia,especially China and Japan, is an art form imbued with East Asian souls ingeneral and Japan in particular Research on thee ink wash paintings provides

us an insight into the souls of East Asia, and the souls of Japan

1.3 Zen (Japanese: zen-shū (禅宗)) in full, Zen na is derived from theChinese word Ch'an The word Ch'an is derived from the Sanskrit word Dhyana

- meaning serenity In the 12th century, Zen was spread to Japan by the merits

of Zen Master Eisai Myoan (1141-1215), and later Zen Master Dogen 1333) The concentration of human’s vitality may generate much effectiveness

(1192-in all aspects of life Therefore, Zen penetrated and spread to every corner ofJapanese cultural life, thereby creating the quintessence of the tea ceremony, theflower ceremony, the kendo, the archery, and, especially, haiku poetry andpainting

1.4 Being impacted by Zen Buddhism’s influence, haiku poetry and inkwash painting have a deep mutual relationship With their core essence of Zenspirit, both arts share common features so that they can reflect on each other insuch aspects as aesthetic sensibility, artistic method and aspect of reception andsensitive experience Based on the intersecting relationship and core values ofthese two arts, along with our passion in both Japanese poetry and paintings, wehave found a great motivation for the research project entitled Zen nature inHaiku poetry and Japanese ink wash painting, with the desire to promote partlythe noble values of these two arts in terms of scientific and writing reality.However, there have been few scientific studies comparing these two fields inVietnam, which does not commensurate with its values Thus, the topic Zen

nature in Haiku poetry and Japanese paintings is selected as the research objectfor this doctoral dissertation.

2 Research objectives and tasks

2.1 Research objectives

The thesis aims at clarifying Zen nature in haiku poetry in their relationwith ink wash painting and thus comparing and contrasting the similarities anddifferences between the two genres, discovering more aesthetic, profound, andnew values of haiku poetry

2.2 Research tasks

This doctoral research project focuses on four aspects of the issue:

- Theoretical and practical foundation on the relationship between haikupoetry and ink wash paintings in Japanese traditional culture

- Similarities and differences in aesthetic sensibility between haiku poetryand ink wash paintings

- Similarities and differences in expression methods of haiku poetry andink wash paintings

- Sensitive experience with ink wash paintings and haiku poems

3 Research subject and scope

The subject of the doctoral research project is the similarities anddifferences between Japanese haiku poetry and Japanese ink wash paintings inthree specific expressions: Zen aesthetic perception, Zen expression methodsand art of Zen sensitive experience

The main scope of this dissertation is the works of Japanese haiku poetryand Japanese ink wash paintings in the ancient period (from the 17th century to1868)

4 Research approach and methodology

In this doctoral research project, the main approach is based on literaryworks from a cultural perspective, combined with a poetic perspective and areceptive aesthetics

In a bid to address the given research tasks, the following methods thatare considered to be appropriate to the research subject and scope: ComparativeGenre, Interdisciplinary method, historical and social research method,analytical and synthetic method, survey, statistics

5 Project’s scientific and practical meanings

The dissertation contributes to clarifying the mutual relationship betweenpoetry and painting in Eastern classical arts,

Through the study of specific works, it clarifies some theoretical issuesrelating to the interdisciplinary research method and the comparative method inliterary research

The dissertation provides readers with the most basic understanding, tobetter absorb the poetic works of Japanese culture in sensory experiencen of art

The dissertation also aims to offer readers depth insights into Zen and Zenculture

6 Contributions of the doctoral research project

The dissertation clarifies the relationship between poetry and painting interms of theory and survey in practice, clarifies the intersection between haikupoetry and ink wash paintings Through this study of common ground, thedissertation makes clear the unique characteristics of both genres of the twoarts

The dissertation studies the works of haiku poetry and ink wash paintings,two very special genres of oriental art in general, and Japanese art in particular.The foundations include the analysis of ideological and aesthetic values,studying the expressive style of specific works This proposes an effectiveapproach to these works, which is the sensory experience approach

7 Organizations of the dissertation

In addition to the Introduction, Conclusion, Reference, Indexes, thedissertation includes for main chapters

Chapter 1: Literature review

Chapter 2: Zen aesthetic sensibility in haiku and ink wash paintings

Chapter 3: Zen artistic method in haiku poetry and ink wash paintings Chapter 4: Zen artistic sensitive experience in haiku poetry and ink washpaintings

CHAPTER 1 LITERATURE REVIEW 1.1 Brief understanding of Zen nature

Zen nature is understood by the author of this dissertation as a quality ofZen, which exists penetratingly both in terms of aesthetic sensibility and in themethod of composing the work, distinguishing works of Zen art from otherworks of other art forms that are not influenced by Zen Those qualities, in

terms of aesthetic sensibility, upholds the simple, primordial beauty of creation,seen through the direct observation, not through rational thinking Zen works ofart therefore tend to emerge out of solitude and silence, revealing deeplyspiritual beauty For the above-mentioned characteristics of artistic creation andcharacteristics of Zen art works, those who enjoy them must have appropriateways of reception Here, in this dissertation, we propose a mode of receptionwhich is named the mode of sensitive experience.

1.2 Studies situation

1.2.1 International studies

1.2.1.1 Studies on the mutual relationship between poetry and painting

Questions about the mutual relationship between painting and other artssuch as literature in the history of human art, are fundamentally addressed in thework by Wendy Beckett on the history of painting The most typical researchwork on the relationship between poetry and painting in terms of theory isLaocoon - an Essay upon the Limits of Painting and Poetry by GotholdEphraim Lessing (1729-1781) which was translated into English by EllenFrotingham in 1873 It showed the author's conception in the core distinctionbetween poetry and painting In addition, we can mention the works by Russianresearchers such as Literature and art forms by A.N Dimitrieva; Art forms by

V Koginov In particular, in the last years of the twentieth century, Frenchphilosophy professor Francoise Jullien conducted a study on the similaritiesbetween painting and poetry based on Chinese thought and aesthetics

1.2.1.2 Studies on the mutual relationship between haiku poetry and ink wash paintings

Based on the mutual relationship of simplicity, in the pamphlet

“Introduction to Haiku”, Harold Henderson, showed a close correlation betweenthe empty poetry in haiku and the void in ink wash paintings Two researchersDonna Mann and Carol Beehler, co-authored the work Edo - Art in Japan 1615-

1868, the fusion between poetry and Japanese painting as the art of painting,which is an art form deeply influenced by Zen Works such as Japanese art byJoan Stanley – Baker; The art of Japan by Elizabeth Benskin also pointed out:Painting is a special form of Japanese art, formed between the 12th and 14thcenturies, and further developed under the Edo period, when the haiku formwas born, under the non-stop influence of Zen Buddhism

1.2.1.3 Studies on Zen nature in haiku poetry and ink wash paintings

Western scholars of the twentieth century, such as Keneth Kraft, AndrewJuniper, R H P Mason & J.G Caiger, C Eliot, in general, still expressed theirrational view on Zen and its influence on art Particularly, Eugen Herrigel, inhis essay Zen in the art of archery, presented an approach to Zen culture andZen art in accordance with its spirit: the spirit of positive philosophy On thefoundation of the above studies, it was initially proved that there existedimportant correlations between Zen and haiku and ink wash painting in the flow

of Japanese culture

1.2.2 Studies in Japan

1.2.2.1 Studies on the mutual relationship between poetry and painting

In his essay Ideals of the East, Professor Okakura Kakuzo pointed outthat, in the premise of the duality of Japanese culture and art, haiku was acultural specialty of the Japanese people and that ink wash painting wasimported from foreign art culture of China Tanchu Terayama's Zen Brushworkshowed that calligraphy was an art deeply influenced by Zen Other Japaneseresearchers such as Takashima Shuji, Noriyoshi Tamaru, Noritake Tsuda alsoprovided specific analyzes of specific works in the fusion of poetry, paintingand calligraphy

1.2.2.2 Studies on the mutual relationship between haiku poetry and ink wash paintings

Researcher Kenneth Yasuda, in his research on Japanese paintings,pointed out this characteristic and aesthetic appeal of ink wash paintings,especially the sense of simplicity and loneliness in paintings with the veryspecial relationship between wabi and sabi in haiku poetry In the research work

on Basho poetry by Ueda Makoto on, the author affirmed that the feeling ofsolitude was a unique style in Basho poetry Takashima Suji, while studyingKoetsu's paintings, pointed out, either haiku poetry or ink wash paintings,featured a quality called the art of fusion

1.2.2.3 Studies on Zen nature in haiku poetry and ink wash paintings

In recent decades in Japan, studies on Zen are mostly related to theexpression of Zen in art In Zen, author DT Suzuki affirmed the importance ofZen to the cultural and spiritual life of Japan in general, and of Asia inparticular, as well as emphasized the element of personal sensitive experience

about Zen This theoretical point was developed throughout his other workssuch as: Zen and Japanese culture, Introductory Zen study, Zen-Dharmawithout thoughts The essays in tea ceremony by Okakura Kakuzo had an in-depth discussion about the relationship between Zen, painting and poetry andother arts such as archery, tea ceremony in the culture and art in Japan.

1.2.3 Studies in Vietnam

1.2.3.1 Studies on the mutual relationship between poetry and painting

The mutual relationship between poetry and painting in general has beenstudied in Vietnam in recent years Typical works can be mentioned such as:Literature and art forms by Le Luu Oanh The Textbook of Academic LiteraryTheory I, edited by Phuong Luu, mentioned the similarities and differencesbetween literature and painting It is noticeable that in the group of researchworks in Vietnam on the relationship between poetry and painting, we canmention the research work Vuong Duy and Buson - "Poetry in painting" byNguyen Thi Nguyet Trinh In this work, the author considered the relationshipbetween poetry and painting as a basic feature of Eastern aesthetics

1.2.3.2 Studies on the mutual relationship between poetry and ink wash painting

The research works on haiku poetry and ink wash paintings in Vietnamtoday, which are mostly specialized in haiku poetry, include typical works suchas: Textbook of Japanese Literature from its inception to 1868, The story oforiental literature by Nhat Chieu; An anthology of Japanese literature from thebeginning to the middle of the 19th century by Mai Lien Regarding ink washpainting, in Vietnam today, there are typical works such as: Overview ofOriental art - Chinese painting by Khai K Pham, Truong Cam Khai, Hoai Anhand Nguyen Thanh Tong and Ancient Chinese and Japanese Painting by HoangCong Luan, Luu Yen

1.2.3.3 Studies on Zen nature in haiku poetry and painting

In Vietnam, not many research on Zen in ink wash paintings have beenpublished, to name a few, some studies on the relationship between Zen andpoetry in Eastern culture in general and in Japanese culture in particular, suchas: Poetic prosody of Tang poetry by Nguyen Thi Bich Hai; Japan in the mirror

by Nhat Chieu; Japan from aesthetics to literature, by Nguyen Phuong Khanh

Chapter 2 ZEN AESTHETIC SENSIBILITY

IN HAIKU PEOTRY AND INK WASH PAINTINGS 2.1 Notion of Zen aesthetic sensibility

Bigaku (美学) is a concept formed in the Edo period, corresponding tothe concept of aesthetics used in Western culture Such concept denotes a kind

of awareness about which there is a harmonious influence between cultural,artistic and religious elements imbued with Japanese culture One of thosereligious elements is Zen with other elements such as sabi, wabi, yugen - thesense of beauty of gloom, tranquility, simplicity

Zen has been well established in so many aspects of Japanese cultural lifethat it exists not only as a sect of Buddhism in this country, but as a cultural andspiritual attribute, imbued with Japanese spirit and styles Many works ofJapanese poetry and painting have become the vivid concrete artistic expression

of the Zen spirit, breathing the breath of Zen

The concepts of wabi, sabi and yugen, of course, belong to the categories

of Japanese aesthetics These aesthetic sensibilities all have a specific history offormation The aesthetic sensibility of yugen formed in the Kamakura period(1192 - 1333); The aesthetic sensibility of wabi and sabi was formed in theMuromachi period (1333-1603) These are aesthetic categories imbued withnational identity, originating from Shinto - an ancient Japanese religion, butlooking at the appearance times of the above aesthetic categories, we see clearlythat they appeared almost at the same time as the emergence of Zen Buddhism

in Japan

Buddhism spread from China to Korea and Japan around the 6th century.Zen Buddhism was identified to be present in Japan in even later time: aroundthe 12th century, with great cultural figures such as Zen Master Eisai, (VinhTay: 1141-1216); Zen Master Dogen (Dao Nguyen: 1200-1253); Zen masterMuju (No Abode: 1226-1312) Speaking of Shinto, we find that this religionwas born in Japan during the Stone Age although the term Shinto only appeared

in Japan around the middle of the sixth century, according to MurakamiShigeyoshi The strong evidence for this conclusion is a statue of a womanbearing the religious imprint of Shinto that was discovered in the Kamikuroiwaruins in Ehime province, in the early Jomon era (8000 BC - 300 BC) Shintohas influenced Japan throughout the formation and development up to themodern era

2.2 Wabi sensibility (simple and rustic) in haiku poetry and ink wash paintings

2.2.1 Notion of wabi

The spirit of wabi in haiku poetry is first expressed in the simplicity ofimages and things In terms of aesthetic principles, the presence of beauty islimitless It is in our look and sense that the beauty is discovered, wherever, inanything

2.2.2 Simple nature and rustic people

The ink wash painters who followed Zen sect often choose real-lifethemes to reproduce in their works, in order to express the spirit of Zen.Characters in ink wash paintings, like landscapes, birds or flowers, are alwaysimbued with the spirit of simplicity People in the Zen sect are alwaysexpressed with the simplicity inside and the closeness and familiarity in theexternal expression style

Thus, in terms of aesthetic sensibility, both classical haiku poetry andJapanese in wash paintings share one common feature: the ability to detectbeauty in the simplest mundane things This is also the heart of Zen

2.2.3 Wabi – differences between language simplicity in haiku poetry and simple materials in ink wash paintings

The spirit of wabi is reflected in the materials The materials of haikupoetry are words Words are non-substantial matter Materials of paintings arelines, colors, pens and inks Lines and colors are both realistic and unrealistic.Pen and paper are physical materials So, the difference in the wabi spirit ofhaiku poetry and ink wash paintings is, first of all, in the difference in thematerials

Indeed, in haiku poetry, this aesthetic sensibility is expressed by thesimplicity of words and the simplicity of images and rhythm In ink washpaintings, the aesthetic sensibility of wabi is expressed first of all in terms ofmaterials and colors: paintings are always composed of only two colors blackand white, with simple images to the extreme while materials are only ink andpaper, with a temporary fragility that contains the philosophical meanings of itsimpermanence So, an ink wash painting, oriented to movement rather than tostillness, the characteristics of impermanence, can only be most evident inmovement, and movement, in turn, contains spirit of wabi

Poetry is the art of words, so even though it is a poetic work with fewwords, it still allows the author to present abstract ideas directly with thematerials This art is the words However, lines and colors, which are thematerial of ink wash paintings, do not allow the painters to directly refer toabstract concepts Though xpressing the same thing and phenomenon, the wabispirit of a painting does not lie in the abstract concept conveyed by words as inthe case of a poem, but we can feel the nature of the brush stroke: sophisticated,elaborately or frankly, unequivocally, to be transparent about its spirit Thewabi spirit of the above work is expressed through firm lines, withouthesitation The simplicity of the lines fits perfectly with that of the content andfrom this resonance comes the beauty of wabi.

Seen from the conceptual belief in the beauty of simplicity, both haikupoetry and ink wash paintings present to the art admirer a visual impressionfrom a mindless observation That is the observation characterized by Zennature But this visual impression is also very different when haiku poetry andink wash paintings are taken into account In haiku poetry, the image of thingscan be absolute It is called absolute still life because it is a formless image, butnot limited by a particular im

An ink wash painting is different from a haiku poetry in that the image inthe painting takes on a fixed, invariable shape and is reproduced with a specificcontext, but what it evokes is the spirit, the vitality, what is beyond the limits ofthe image, what is aroused through the author's painting style

2.3 Sabi sensibility (solitute) in haiku poetry and ink wash paintings

2.3.1 Notion of wabi

According to the Dagenkai dictionary, the first origin of the term sabi was

a verb, meaning being desolate, rough Accordingly, there are the wordssabushiki and sappukei, with the connotation of lack of charm and discomfort

“sabushi” is understood a deserted, quiet, which reminds us of the solitude oflife However, the word sabi/sabu is also related to characters with the meaning

of aging

2.3.2 Solitute and wild space

In many haiku works, the author did not show the presence of people intheir works These works are very close to the Chinese poetry This view must

be the view of the first mind, the primordial view that has not been interfered bythe discriminating mind between subject and object On the other hand, painting

is the art of silence, so in essence, painting implicitly contains an aspect ofsolitude In ink wash paintings, the solitude is not only a quality but sometimesalso an object of expression of the work

It can be said that in haiku poetry and paintings, stillness is a completeunity from the inside to the outside

2.3.3 Sabi: the spirit of solitude in haiku poetry and the quality of soundlessness in ink wash paintings

The expression of the sabi feelings in haiku poetry is mainly in theemotional deposition that the poem creates Unlike haiku poetry, it is difficultfor the artists to describe the sound to highlight the silence of the space in inkwash paintings However, a painting work, with the simplicity of thebrushstrokes, absorbs all the stillness inside and from that stillness, it lets thebreath of life gently emerge

To portray the feeling of loneliness and solitude, haiku poets may usesymbolic images In ink wash paintings, although they do not have theadvantage of using conceptual symbols like in poetry, in order to portrayloneliness, the artist can make use of the art of spatial perspective of visual arts

Nothingness, or Voidness, is also depicted as having a distinct mode ofexpression compared to haiku poetry It is the painters who frequently use the

"lac khoan" The word "lac khoan" here is an equivalent to the Japanese wordyohaku A painting, whether it is of landscape, still life, or human characters,tends to be filled with details It is considered that a picture is not completed ifthere is a space left on the paper

2.4 Yugen sensibility (mysterious) in haiku poetry and ink wash paintings

2.4.1 Notion of Yugen

During the Kamakura period (1193-1333) and Muromachi (1333-1573),Japanese literature was permeated with dark colors (yugen) The concept ofbeauty, therefore, originates from the notion that everyday life inherentlycontains a sacred and mysterious thing When they reach the threshold of thismystery, of nature, of life, sometimes poets intuitively realize the impossibility

of words, of thought (the inconceivable)