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1 MINISTRY OF EDUCATION AND TRAINING HANOI NATIONAL UNIVERSITY OF EDUCATION 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 THIS DISSERTATION HAS BEEN COMPLETED AT HANOI UNIVERSITY OF EDUCATION 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 Dissertation is archived at: Vietnam National Library Library of Hanoi National University of Education PUBLISHED RESEARCH RELATED TO THE DISSERTATION Nguyen Dieu Minh Chan Nhu (2021), “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 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 Nguyen Dieu Minh Chan Nhu (2022), “The technique of emptiness in haiku poetry and the white space in Japanese ink wash paintings”, TNU Journal of Science and Technology, Vol.227, no.4, pp.100-108 Nguyen Dieu Minh Chan Nhu (2021), “Aesthetic sensibility of ưabi in haiku poetry and Japanese classic ink wash paintitngs”, Van hoc va Ngon ngu 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 PREFACE Rational of the study 1.1 Haiku poetry (Japanese: 俳 俳 , Sino-Vietnamese: Bai Cu) is a Japan’ unique form of poetry In the twenty-first century, from a typical Japanese poetic form, haiku has spread out of a country’s boundary into a globalization scale of influence, expresssing great spiritual values in the mankind’s literature in particular As a result, studying haiku poetry will help open an access to Japanese souls 1.2 Mac hoi paintings (or Sumi-e - 俳 俳 in Japanese) also known as ink wash painting - a type of brush painting, popularly practiced in East Asia, especially China and Japan, is an art form imbued with East Asian souls in general 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 ( 俳 俳 )) in full, Zen na is derived from the Chinese 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 (11921333) The concentration of human’s vitality may generate much effectiveness in all aspects of life Therefore, Zen penetrated and spread to every corner of Japanese cultural life, thereby creating the quintessence of the tea ceremony, the flower ceremony, the kendo, the archery, and, especially, haiku poetry and painting 1.4 Being impacted by Zen Buddhism’s influence, haiku poetry and ink wash painting have a deep mutual relationship With their core essence of Zen spirit, both arts share common features so that they can reflect on each other in such aspects as aesthetic sensibility, artistic method and aspect of reception and sensitive experience Based on the intersecting relationship and core values of these two arts, along with our passion in both Japanese poetry and paintings, we have found a great motivation for the research project entitled Zen nature in Haiku poetry and Japanese ink wash painting, with the desire to promote partly the noble values of these two arts in terms of scientific and writing reality However, there have been few scientific studies comparing these two fields in Vietnam, which does not commensurate with its values Thus, the topic Zen nature in Haiku poetry and Japanese paintings is selected as the research object for this doctoral dissertation Research objectives and tasks 2.1 Research objectives The thesis aims at clarifying Zen nature in haiku poetry in their relation with ink wash painting and thus comparing and contrasting the similarities and differences between the two genres, discovering more aesthetic, profound, and new 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 haiku poetry and ink wash paintings in Japanese traditional culture - Similarities and differences in aesthetic sensibility between haiku poetry and ink wash paintings - Similarities and differences in expression methods of haiku poetry and ink wash paintings - Sensitive experience with ink wash paintings and haiku poems Research subject and scope The subject of the doctoral research project is the similarities and differences between Japanese haiku poetry and Japanese ink wash paintings in three specific expressions: Zen aesthetic perception, Zen expression methods and art of Zen sensitive experience The main scope of this dissertation is the works of Japanese haiku poetry and Japanese ink wash paintings in the ancient period (from the 17th century to 1868) Research approach and methodology In this doctoral research project, the main approach is based on literary works from a cultural perspective, combined with a poetic perspective and a receptive aesthetics In a bid to address the given research tasks, the following methods that are considered to be appropriate to the research subject and scope: Comparative Genre, Interdisciplinary method, historical and social research method, analytical and synthetic method, survey, statistics Project’s scientific and practical meanings The dissertation contributes to clarifying the mutual relationship between poetry and painting in Eastern classical arts, Through the study of specific works, it clarifies some theoretical issues relating to the interdisciplinary research method and the comparative method in literary research The dissertation provides readers with the most basic understanding, to better absorb the poetic works of Japanese culture in sensory experiencen of art The dissertation also aims to offer readers depth insights into Zen and Zen culture Contributions of the doctoral research project The dissertation clarifies the relationship between poetry and painting in terms of theory and survey in practice, clarifies the intersection between haiku poetry and ink wash paintings Through this study of common ground, the dissertation makes clear the unique characteristics of both genres of the two arts 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 effective approach to these works, which is the sensory experience approach Organizations of the dissertation In addition to the Introduction, Conclusion, Reference, Indexes, the dissertation 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 wash paintings CHAPTER LITERATURE REVIEW 1.1 Brief understanding of Zen nature Zen nature is understood by the author of this dissertation as a quality of Zen, which exists penetratingly both in terms of aesthetic sensibility and in the method of composing the work, distinguishing works of Zen art from other works 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 of art therefore tend to emerge out of solitude and silence, revealing deeply spiritual beauty For the above-mentioned characteristics of artistic creation and characteristics of Zen art works, those who enjoy them must have appropriate ways of reception Here, in this dissertation, we propose a mode of reception which 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 arts such as literature in the history of human art, are fundamentally addressed in the work by Wendy Beckett on the history of painting The most typical research work on the relationship between poetry and painting in terms of theory is Laocoon - an Essay upon the Limits of Painting and Poetry by Gothold Ephraim Lessing (1729-1781) which was translated into English by Ellen Frotingham in 1873 It showed the author's conception in the core distinction between poetry and painting In addition, we can mention the works by Russian researchers 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, French philosophy professor Francoise Jullien conducted a study on the similarities between 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 between the empty poetry in haiku and the void in ink wash paintings Two researchers Donna Mann and Carol Beehler, co-authored the work Edo - Art in Japan 16151868, 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 by Joan 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 14th centuries, and further developed under the Edo period, when the haiku form was 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, Andrew Juniper, R H P Mason & J.G Caiger, C Eliot, in general, still expressed their rational view on Zen and its influence on art Particularly, Eugen Herrigel, in his essay Zen in the art of archery, presented an approach to Zen culture and Zen art in accordance with its spirit: the spirit of positive philosophy On the foundation of the above studies, it was initially proved that there existed important 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 out that, in the premise of the duality of Japanese culture and art, haiku was a cultural specialty of the Japanese people and that ink wash painting was imported from foreign art culture of China Tanchu Terayama's Zen Brushwork showed that calligraphy was an art deeply influenced by Zen Other Japanese researchers such as Takashima Shuji, Noriyoshi Tamaru, Noritake Tsuda also provided specific analyzes of specific works in the fusion of poetry, painting and 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 very special 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 of solitude was a unique style in Basho poetry Takashima Suji, while studying Koetsu'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 the expression of Zen in art In Zen, author DT Suzuki affirmed the importance of Zen to the cultural and spiritual life of Japan in general, and of Asia in particular, as well as emphasized the element of personal sensitive experience about Zen This theoretical point was developed throughout his other works such as: Zen and Japanese culture, Introductory Zen study, Zen-Dharma without thoughts The essays in tea ceremony by Okakura Kakuzo had an in-depth discussion about the relationship between Zen, painting and poetry and other 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 been studied in Vietnam in recent years Typical works can be mentioned such as: Literature and art forms by Le Luu Oanh The Textbook of Academic Literary Theory I, edited by Phuong Luu, mentioned the similarities and differences between literature and painting It is noticeable that in the group of research works in Vietnam on the relationship between poetry and painting, we can mention the research work Vuong Duy and Buson - "Poetry in painting" by Nguyen Thi Nguyet Trinh In this work, the author considered the relationship between 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 Vietnam today, which are mostly specialized in haiku poetry, include typical works such as: Textbook of Japanese Literature from its inception to 1868, The story of oriental literature by Nhat Chieu; An anthology of Japanese literature from the beginning to the middle of the 19th century by Mai Lien Regarding ink wash painting, in Vietnam today, there are typical works such as: Overview of Oriental art - Chinese painting by Khai K Pham, Truong Cam Khai, Hoai Anh and Nguyen Thanh Tong and Ancient Chinese and Japanese Painting by Hoang Cong 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 been published, to name a few, some studies on the relationship between Zen and poetry in Eastern culture in general and in Japanese culture in particular, such as: 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 ZEN AESTHETIC SENSIBILITY IN HAIKU PEOTRY AND INK WASH PAINTINGS 2.1 Notion of Zen aesthetic sensibility Bigaku (俳俳) is a concept formed in the Edo period, corresponding to the concept of aesthetics used in Western culture Such concept denotes a kind of 10 awareness about which there is a harmonious influence between cultural, artistic and religious elements imbued with Japanese culture One of those religious elements is Zen with other elements such as sabi, wabi, yugen - the sense of beauty of gloom, tranquility, simplicity Zen has been well established in so many aspects of Japanese cultural life that it exists not only as a sect of Buddhism in this country, but as a cultural and spiritual attribute, imbued with Japanese spirit and styles Many works of Japanese 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 of formation The aesthetic sensibility of yugen formed in the Kamakura period (1192 - 1333); The aesthetic sensibility of wabi and sabi was formed in the Muromachi period (1333-1603) These are aesthetic categories imbued with national identity, originating from Shinto - an ancient Japanese religion, but looking at the appearance times of the above aesthetic categories, we see clearly that 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 th century Zen Buddhism was identified to be present in Japan in even later time: around the 12th century, with great cultural figures such as Zen Master Eisai, (Vinh Tay: 1141-1216); Zen Master Dogen (Dao Nguyen: 1200-1253); Zen master Muju (No Abode: 1226-1312) Speaking of Shinto, we find that this religion was born in Japan during the Stone Age although the term Shinto only appeared in Japan around the middle of the sixth century, according to Murakami Shigeyoshi The strong evidence for this conclusion is a statue of a woman bearing the religious imprint of Shinto that was discovered in the Kamikuroiwa ruins in Ehime province, in the early Jomon era (8000 BC - 300 BC) Shinto has influenced Japan throughout the formation and development up to the modern 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 of images and things In terms of aesthetic principles, the presence of beauty is 13 It can be said that in haiku poetry and paintings, stillness is a complete unity 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 the emotional deposition that the poem creates Unlike haiku poetry, it is difficult for the artists to describe the sound to highlight the silence of the space in ink wash paintings However, a painting work, with the simplicity of the brushstrokes, absorbs all the stillness inside and from that stillness, it lets the breath of life gently emerge To portray the feeling of loneliness and solitude, haiku poets may use symbolic images In ink wash paintings, although they not have the advantage of using conceptual symbols like in poetry, in order to portray loneliness, 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 of expression 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 word yohaku 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 if there 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 of beauty, therefore, originates from the notion that everyday life inherently contains a sacred and mysterious thing When they reach the threshold of this mystery, of nature, of life, sometimes poets intuitively realize the impossibility of words, of thought (the inconceivable) 2.4.2 The graceful beauty of the mind manifests itself in the living reality of art A haiku poet, or an ink painter, is always aware that he cannot simply express the appearance of reality That consciousness is called Sei do, or Kokoro mochi by Japanese, believing that there should be in ink wash 14 paintings Although they can not express the beauty at the highest level as Noh plays, both haiku poetry and Japanese ink wash paintings own the beauty of yugen aesthetic sensibility, a sense of deep, mysterious beauty in the spirit of living creatures 2.4.3 Yugen: the beauty imbued with ideas in haiku poetry and illusioned beauty of the images in ink wash paintings A Zen kōan is a dialogue between consciousness and spirituality The yugen beauty in a haiku poem lies in the kōan nature of the questions, which are asked without waiting for answers but reaching the limits of discriminating thinking stage The kōan in the ink wash paintings is often found in absurd details, which cannot be seen without sharp and subtle observation That absurdity is beyond the mind of the intellect, it is not in the extraordinary but ordinary objects The aesthetic sensibility of yugen in haiku poetry often arises from sudden surprise at the mystical beauty of simple things The poet witnesses the momentariness of external circumstances and poetic ideas arise, and the poetic work comes into its form Meanwhile, the aesthetic sensibility of yugen in ink wash paintings is often evoked by the depth of the external environment into the interior to become the artist’ present mood When an artist holds a pen to draw wind and rain, the time the painting takes shape is a momentariness But to have that momentariness, the artist needs to spend a lot of time to let the rain and wind sink into his soul One painter of ink wash paintings even recommended looking at a bamboo tree for ten years before painting it Chapter THE METHODS OF ZEN ARTS IN HAIKU POETRY AND INK WASH PAINTING 3.1 Notions of Zen arts methods 3.1.1 General notion The Zen art method is perceived on the basis in which the artist of Zen art, whether a poet or a painter, uses to perfect the form of a work whose content emphasizes direct inner awareness and reality of life Because of such characteristics, the Zen art method has its own imprints Those imprints are expressed through characteristics such as: The void space in the picture, the poetic void prosody in the poem, the momentary nature and the scene in the poem as well as in the picture From those characteristics, the work, whether it 15 may or may not deal with Zen ideas and themes in Buddhism, still exudes Zen mind, Zen theory and Zen taste 3.1.2 Notion of white space, nothingness, momentariness and scenic meanings 3.1.2.1 Notion of white space, nothingness White spaces are unique artistic method, originating from Eastern philosophical thought, from the profound philosophy of Buddhism, especially Zen Buddhism This feature is uniquely expressed in poetry and painting, from China to Japan, and has become a distinctive feature of haiku and ink wash paintings When dscussing white space in haiku poetry, we have the term nothingness Nevertheless when we talk about that such in ink wash paintings, we use the term white space White space, unlike the nothingness in haiku poetry, it is not a poetic void, but a real nothingness that participates in the shaping mechanism of the picture 3.1.2.2 Notion of momentariness Momentariness, according to the oldest concept of Buddhist philosophy, is a kṣaṇa, the smallest unit of time When Buddhism was introduced to China, in the sixth century, Zen Buddhism was born Zen Buddhism in China had a concept, which was later understood to be equivalent to the concept of Ksana in Theravada Buddhism in India, which was "mindfulness" "One Mindfulness" is both a smallest unit in the mental process and understood as a unit of time If it is understood that ink wash paintings or haiku poetry are the ways to enter the state of Zen, as it is often called for these arts 3.1.2.3 Notion of scenic meanings Scenes are objective reality Though, a scene can be understood as the inner space expressing the unity between thought and scene, the boundary between subject and object here is blurred Just like in painting, that nondifferentiation between subject and object permeates the art space of haiku, raising the level of artistic space in poetry to that of consciousness 3.2 Voidness in haiku poetry and in ink wash paintings 3.2.1 The evocative ability of empty space and abstract simplification of forms 16 In terms of aesthetics, the space in haiku poetry is not only a means of expressing beauty, but sometimes, the void space itself becomes an aesthetic object described in the poem In ink wash paintings, white space is the clearest expression of Zen thought: Everything flows from Nothingness and returns to Nothingness The white space in the picture creates the source of creativity among viewers Nothingness also suggests the idea of infinity, the idea of change The nothingness in haiku poetry and the white space in ink wash paintings are similar in that they are both an artistic technique and an object of description; space sometimes appears as a part of reality represented in a picture or a poem, and it itself gives life and vitality to tangible things Both of the nothingness in haiku poetry and the white space in ink wash paintings are therefore vivid expressions of Zen philosophy and imprinted with Eastern culture 3.2.2 White space in the organization of ink wash paintings and nothingness in haiku poetry The nothingness in haiku poetry is shown in three manifestations: the nothingness outside the poem due to the minimal haiku in terms of words, the nothingness among the images in the poem, and that among the symbolic nature of the images Meanwhile, the white space in ink wash paintings reveals three manifestations, but each expression is different in nature compared to the nothingness in haiku poetry It is a passive space: The artist creates that space by drawing the surrounding details and leaving a white in the middle (drawing clouds and the moon), the gap is caused by intended drawing defects: The artist intentionally omits some details of the image to create this space, and the space caused by the blur of perspective: The details in the picture are drawn into each other, not separate, creating "blur spots" between them It can be said that they are clearly different in nature compared to the three expressions of space in haiku poetry although these three expressions of the painting are similar in spirit 3.3 Momentariness in haiku poetry and ink wash paintings 3.3.1 Non-time direct perception of existing reality Haiku poetry is poetry of the momentariness In the moment when the poet perceives reality through the dances of heaven and life, breathes with the 17 breath of heaven and earth, so integrated that there is no separation or isolation between the poet's ego and the present reality Like haiku poetry, ink wash paintings bear a special sense of time and space Ink wash paintings not contain clairvoyance like Western paintings The reason is that the observation points of the artist when recreating the art world on a painting is not a fixed Thus, when looking at the painting, in just one glance, the art viewers will capture all four seasons in his sight This would be puzzling to ordinary, deductive thinking, but not strange to a Zen meditator's point of view In the mind of Prajna without distinction, the momentariness and the thousand years are the same - "one moment for a thousand years." 3.3.2 Reality momentariness in haiku poetry and inner momentariness in ink wash paintings The momentariness in haiku poetry is the moment of direct realization of an inherent fact, a present reality, expressed in chronological order by the nature of the verbal signs This is a big difference from the moment in ink wash paintings, which is a flash of creativity when the creative subject is homogenous with the material of the pen, with the work, in order to overcome the difficulty of the art of painting, which is how to draw out the motions of objects, things, and life from the stillness of the picture 3.4 Scenic meanings in haiku poetry and ink wash paintings 3.4.1 Similarities between the soul and scene in correlation with meaning and scene in haiku poetry and ink wash paintings Haiku poetry in particular and classical oriental poetry in general attach more importance to words In Chinese culture, there has existed a concept: "the idea is beyond the word", "there is a word for the sake of the idea; wherever there is idea, forget the words." The same is true of Japanese or Chinese ink wash paintings in which the form is reduced to a minimum so that the expressive power of the mind is maximized In the spirit of interdependence and continuity of Japanese Buddhism, a picture is a poem without words; a poem is a picture redrawing in words the context of reality, noticing the scene of rebirth in the infinity of the reader's heart and of the flow of life Perspectives in poetry allow the poet to touch the invisible things of the scene 18 The context in haiku poetry and in in wash paintings allows for a combination and fusion of images and things belonging to reality and concepts belonging to the world of mind, both dimensions can coexist in the artistic world of the work in a harmonious manner without hesitation 3.4.2 Homogeneous similarities in the subject and scenic meanings and dimming the boundary of images in scenic meanings in ink wash paintings Haiku poets rarely state Zen philosophy directly Early Zen painting often uses the painting’s scenic meanings to clarify the Zen ideas Paintings of buffalo herding is a unique painting system in Zen painting, opening the tradition of expressing such Zen thoughts in ink wash paintings In the spirit of no-self of Buddhism in general and Zen Buddhism in particular, haiku poetry has little to say about the author's personal ego, the lyrical subject-self of the author does not occupy the place of the artistic world in the poem If there were any of them, the ego here would fully integrate with nature, to the point of almost "selflessness" It is an important expression of the spirit of interdependence between nature and humans, between subject and object in scenic meanings of haiku poetry: it is the identity between the self and the phenomenal world that that self is testified Chapter ZEN SENSITIVE EXPERIENCE IN HAIKU POETRY AND INK WASH PAINTINGS 4.1 Notion of Zen sensory experience Experience is a particular form of reception for haiku poetry and ink wash paintings respectively This form of reception does not focus on reasoning, evaluating and criticizing the work, but focuses on the receiving subject as the center, listening to emotional effects, inner reactions, that a haiku poem or ink wash painting evokes in the spiritual world of the beholder, so that there is a profound and essential resonance with the reality of the work and the spiritual world of author We can call this process co-creation in the process of perceiving the work, and since this process involves both cognitive and aesthetic aspects, it can be said that the reception of haiku poetry and ink wash paintings are also an art, an art in a broad sense It is the art - in the words of the Eastern sages - of leading the spirit into a state of enlightenment towards the Way This is a “non-pathway” where one has to abandon all the mastery of 19 skills, which one has gained through many years of practice, in order to have the first heart, the one of initial time, "the master becomes a beginner", so this art is also called the art of non-art, the art of Zen 4.2 A pathless path to subject’s incarnation into Tao in sensory experiencing haiku poetry and ink wash paintings It can be said that in Eastern culture, poetry and painting are both the entrance to the "Tao" A good poem is like a leaf A natural leaf grows from a tree branch Zen painting is also natural It is a way of drawing without technique, without calculation, without method, a way of drawing without drawing Only with such a drawing style can the true heart be directly displayed on paper and ink, without any sharpening of knowledge or experience, because truth is a land with no way to go The path of the Tao is a non-Tao path For Eastern cultures, the language of poetry and the images of painting are the most effective ways to integrate with the Tao 4.3 Co-creation in sensitively experiencing haiku poetry works and ink wash paintings Taking sensitive experience on a work of haiku poetry and painting requires a particular artistic thought, containing the Zen spirit deeply, where there is an innocent mind, without distinction between the creator and the beholder, there is no division between subject and object The art beholder is also the art creator 4.3.1 Cognitive aspects in co-creation From the very beginning, in haiku poetry the writer and the readers have traditionally regarded as of equal roles The predecessor of haiku was originally haikairenga – a joint song, in which the hokku – the first three lines arranged in syllable order 5/7/5 were composed by one person, the rest consisted of two lines, arranged in syllable order of 7/7, were composed by another person Then, another person continued the three lines in the syllable sequence of 5/7/5 The poem can be repeated up to 36 times in such a way (called kasen); one hundred times (called hyaku in) or even ten thousand times (called manku) It can be said that, from a certain angle, haikairenga form is a co-creation process, because the writer of the latter part has to both receive the text of the former poets and participate in the creation, in the literal sense of the word, to complete the work 20 To be able to co-create in the sensitive experience of a haiku work and an ink wash painting, the receiver must penetrate into the inner world displayed in the work By doing so, it is possible for the receiver to be in tune with the author's heart, a realm of consciousness different from the consciousness of the reader Penetrating into another realm of consciousness is not understood in the occult sense although it does seem magical In fact, once one person goes deep into self-awareness of his own inner world, he will meet the inner world of others there because in the human realm, the nature of the heart is sympathy We may differ in our skin color, in our body build, in our ideals, in our customs, in our lifestyles, in our succession of thoughts, but our self-nature is ultimately indivisible Moreover, after all, both haiku poetry and ink wash paintings demand beauty within the artist herself Discovering this beauty is important And, as mentioned above, in order to discover that beauty, the reader of poetry or the viewer of a painting must choose a point of view from the inside, must use the mind to see the mind The mind is invisible and formless and can not be seen It is difficult to perceive the mental world presented in a Zen work of art because of the minimalism of its form Unlike receiving a poem of other poetic forms, haiku poetry doesn't have much to say to us To overcome this obstacle, it requires the art beholder self-awareness first, and then, by observing what other spiritual world arouses in us, through various means like the words of a haiku, a landscape, things or characters depicted in a painting, the art beholder can understand them Thus, looking at paintings is also a way for us to know how to look within our hearts If we look at a painting and we can only tell what the painting depicts, is it similar to the real thing in real life or not, then we don't seem to understand it completely First, and most importantly, we have to practice listening to what the picture evokes deep in our hearts, then from there, we can grasp the enlightenment, the characters emanating from the painting, it is what really awakens our emotional intelligence, not the image of the painting In terms of perception, a work of literature helps us perceive the world and self-perceive via words Similarly, a purely painting work helps us to that, not via words but via images And in order to enjoy a work of haiku poem or an ink wash painting, our mind must be able to stop its wandering thoughts, to penetrate into a state of emptiness and stillness There, the depth of perception will take us beyond the limits of words, and beyond to the other side 21 of the scene A Zen art work presents a wonderful resonance between the art of words and the visual arts with our own inner depth 4.3.2 Aesthetic values in co-creation The desire to feel beauty is a common inclination of all individuals, all people in the world However, each people has a distinct aesthetic sensibility that does not overlap Receiving Japanese art and literature with the Japanese aesthetic sensibility is a possibility that foreign readers must consider, since beauty is very important to the spiritual life of the Japanese If the Indians revere religious beliefs, the Chinese attach great importance to philosophy and practicality, the Westerners put their primary concern in science, then the Japanese, wherever they look, philosophy, religions, or even science, they it with aesthetics Similarly, the beauty of Japanese literature and art is very different from any other literature and art in the world, so it is difficult for a foreigner to appreciate Japanese literary works if that person keeps holding on to their own aesthetic lens For co-creation to take sharp in receiving Japanese literary and artistic works, readers and art lovers must know how to look at things with the Japanese aesthetic lens, projecting the beauty of art by the Japanese mirror Aesthetic feelings such as wabi, sabi, yugen are the essence of that look, that mirror In the opposite direction, the reception of Japanese literary and artistic works in a co-creation position, with the Japanese aesthetic thinking, will gradually nurture in us the sensitivity and fascination with the beauty of art, the beauty of the ordinary and simple things and the deep sense of the divine that exists in reality life A true Zen poetic work is one that has the ability to imbue one with beauty, purifying from one's heart the ambitions and afflictions brought about by the ego In this aspect, indeed, while beauty can help us to lift our burden of selfishness for a moment, it also means that beauty has saved the world On the contrary, when coming to a poetic work, the person who enjoys it must also have a simple but delicate soul, ordinary but profound, corresponding to the qualities of the work Only then will there be resonance, harmony, dialogue between the observer and the author, to arrive at the fact that understanding a poem or a painting is also understanding oneself At that time, the art beholder becomes the confidant of beauty and art To be able to reach that beauty, the reader cannot just entrust the artist It is true that "beauty saves 22 the world", but people in the world have to raise their souls to come to beauty, not only the beauty of haiku poetry, or of ink wash paintings, but also the beauty of art in general 4.4 The enlightenment of Zen in perceiving the beauty in haiku poetry and ink wash painting 4.4.1 Understanding and enlightenment in sensory experience of art Although Zen masters rare occasion explain enlightenment, through the scientific works of researchers, as well as through the presentation of the authors' personal experiences in the Zen art, we can temporarily give a few ways to understand enlightenment Enlightenment is a state of understanding, not the knowledge of a single object or thing, or an understanding of a particular matter, but a state of complete and final awareness of the inner world by the whole of reality From an epistemological point of view, the concept of Zen is essentially related to the concept of enlightenment Enlightenment is a state of direct perception of both the phenomenal world and the mind without the need for a perceiving subject to stand out for analysis and reasoning Because it is direct perception, the state of Enlightenment places special emphasis on momentariness Time is a prerequisite for rational perception to take place Every speculative process is a series of logical thinking operations to explain, rationalize, or judge things and phenomena Going from the unknown to the known is a movement in time The direct perception of Wu is without reasoning, without speculation, so it doesn't take time For Zen, living is the only way to gain a true understanding of life, not an abstraction or generalization of life from which one has this true understanding The thought of such Enlightenment permeated the writings of classical Japanese haiku painters and poets, contributing to the creation of special feelings of beauty in their works These are sensibilities such as: wabi, sabi, yugen These aesthetic sensibilities have created a very special aesthetic mark: Aesthetics of Zen 4.4.2 Kan enlightenment for haiku poetry and perception of ink wash painting symbol Kan is a strange question It does not direct the mind of the person who receives the inquiry to understanding, but it directs the mind of the receiver to enlightenment 23 A kan is a mark characterized by Zen nature Whereas, understanding and enlightenment are two different cognitive processes First, understanding is going from the unknown, through reasoning and judgment, to reaching the known, transforming knowledge from the new into the old Enlightenment, on the other hand, comes from the known, from the old Enlightenment is the process of leaping from knowing on the intellectual aspect to transforming understandings into life, living with the understandings Second, understanding, going from what is to be what will be, so it will require the participation of time, it takes time Enlightenment, which is a moment, is the blink of an eye that captures reality into consciousness, like opening a door and seeing a mountain, it is a look, and this look does not come nor go, neither birth nor death, it is infinite, so it is timeless People who experience the kōan in haiku poetry often discover the limits of language, reasoning, and logical thinking through the words themselves, so that a state of "mindful thinking and oral speaking stoppage”, the "inconceivable" state - the state of being unable to think, to discuss, to bloom in the mind the infinity of reality, inside and out An ink wash painting is, in itself, an art of silence, so the successful manifestation of kōan in painting is, of course, not through the presentation of antonyms or allusions of words, but through the symbolism of the images, and it is from this anonymous that the art examiner perceives the originality of all reality, a reality which Zen artists cannot name, which one cannot name or present but it can only be experienced 4.4.3 Perceiving haiku poetry in accordance with writing times and having an overall behold of ink wash paintings in accordance with its dimensional organization Enjoying a poetic work, appreciating a painting and enjoying a poetic work - a poetic picture can differ by their own characteristics Admiring pictures and reading poetry requires an integrated thinking of the receiver on the basis of finding the resonance meaning from the poem's content and what the picture shows We can analyze the process of experiencing this poem to clarify the difference while experiencing a haiku poem compared to experiencing a figurative work like an ink wash painting First of all, the art of words has the attribute of time, while the art of painting has the attribute of being the art of 24 space So, when looking at a picture, people don't feel like they have to follow an obligatory sequence between the details Even the viewer can capture all the details in a single glance Reading a poem is not like that The appearance of pictures in the form of words, like it or not, must be sequential And that order itself has a certain meaning for the perception of the work Another notable aspect that makes the experience of a haiku poem different from the experience of an ink wash painting, as analyzed above, is the non-stationary nature of the image the poem evokes Meanwhile, enjoying a work of painting, our mind completely penetrates into the image, and what remains in the senses of the beholder, or the critic, are only scenes of non-verbal language Usually, a poem presented on a picture will be written in calligraphic form Unlike painting or poetry, calligraphy is both an art containing linguistic elements and a visual art, and according to that, Zen calligraphy means the art of writing letters with focus The important thing is the mindless spirit in the pen strokes Some calligraphers even assert that the beauty radiates from an invisible but full of energy, brought by the inner self, transported through the lines and shapes of the handwriting It can be said that the painting is a tangible embodiment of the meaning from the poem It makes the meaning come alive It expresses aspects that words cannot express Just like that, the poem and the painting, when placed in a whole, will constantly amplify each other's meanings, surpassing the limits that just a poem or a picture cannot overcome CONCLUSIONS For Eastern classical art, the relationship between poetry and painting is extremely close That correlation is established on the following three bases: (1) In each branch of art, poetry and painting, there is an intrinsic unity between plasticity and expression; (2) The ability to overcome the material limitations of each art; (3) The similarity of aesthetic ideals between poetry and painting In the chapter of Literature Review, the dissertation presented briefly about the research situation related to the research project, conducted in the world, in Japan and in Vietnam 25 In chapter 2, studies on issues related to Zen aesthetic sensibility in haiku poetry and ink wash paintings were conducted These are the senses: wabi, sabi and yugen In chapter 3, on the basis of clarifying the concept of Zen art method, the dissertation develops the following concepts: White space in ink wash paintings, nothingness in haiku poetry, momentariness and scenic meanings in haiku poetry and in ink wash paintings These are the typical features and crossing points in term of artistic methods between haiku poetry and ink wash paintings However, within the similarities, there are still distinctive features The dissertation makes an in-depth analysis on these similarities while trying to clarify their differences Basing on the basis of examining the similarities and differences in aesthetic sensibility, on the artistic method of the previous chapters, Chapter clarifies the problem of experiencing a haiku poetry and ink wash paintings The experience of haiku poetry and ink wash painting is similar in three characteristics: (1) For both haiku and paintings, we can view the experience of a work as a form, a way to observe one's own reality and inner self, a way to enter the Tao (2) The experience of haiku poetry and ink wash paintings both focus on the co-creation process on both the cognitive and aesthetic aspects and (3) the recognition of beauty in haiku poetry and ink wash paintings is oriented towards enlightenment In addition, there are differences in the experience of haiku poetry and ink wash painting Firstly, receiving a haiku poem is the process of approaching the work over time, while receiving a ink wash painting is the process of receiving a holistic view in space The second is the difference between the realization of a distinct poetic kōan and the perceiving of a pictorial symbol in an ink wash painting The research project can be viewed as a small-scale collection of materials for researchers of classical haiku as well as researchers of Japanese ink wash paintings for their reference and research Through the process of studying classical haiku poetry in correspondence with paintings of haiku, the thesis has clarified more clearly the characteristics of haiku poetry that, if only studied independently compared to Zen nature or paintings of festivals, the characteristics of haiku poetry are more clearly understood This point cannot be clearly stated These are the characteristics: 26 the kōan nature of a haiku poem, the straightforwardness of haiku, the identity of the subject and the object These characteristics can only be clarified when placing haiku poetry in relation to Zen thought and comparing haiku poetry with painting in terms of aesthetic sensibility and artistic method On the other hand, the dissertation, based on analyzing the similarities and differences in aesthetic sensibility and artistic method of haiku poetry and painting, has provided initial studies about the process of receiving two types of art It is the process of experiencing This is a new contribution of the research project Comparative literature is a relatively new content in literary theory The research project has compared two specific genres of different art forms, namely haiku poetry and ink wash painting This research findings also help provide practical and specific documents to better clarify the theory of comparative literature The research project for this dissertation contributes a small part to solving difficult problems, aiming to improve the efficiency in teaching haiku poetry to university students majoring in Literature Painting is a special art, but in order to fully appreciate the beauty of the works of this art form, it is necessary to have research works to support the reception The focus of the thesis is to study about the similarities and differences between haiku poetry and ink wash painting in three aspects: aesthetic sensibility, artistic method and experience However, during the research process, we discovered a new research direction, although related, but not within the scope of the topic's research, so we could not go into deep exploration It is the study of calligraphy, a genre that can be said to be the intersection between the visual arts and the verbal arts Experiencing a work of art is a relatively new issue in the literature as well as the art studies Therefore, our work is only the first steps in research on this issue, with humble results In the future, the issues of literary experience needs to be explored more deeply from many angles, in the relationship with a myriad of scientific disciplines such as psychology, culture, and literary theory 27 ... between haiku poetry and ink wash paintings - Similarities and differences in expression methods of haiku poetry and ink wash paintings - Sensitive experience with ink wash paintings and haiku. .. 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 wash... wash paintings and nothingness in haiku poetry The nothingness in haiku poetry is shown in three manifestations: the nothingness outside the poem due to the minimal haiku in terms of words, the nothingness