Bastet’s Monday Haiga Challenge – Dawn – April 18, 2016

Hello Everyone!

Yesterday it rained and when the shower passed,  I went for a splendid walk – with my camera of course.  I decided to try to take some macros which I’ll use today for my haiga.   I was inspired by:

after a spring shower

After the shower



Ok not so kosher as far as haiku goes … I’ve obviously personified that lovely flower … imagining its a sort of floral geisha to a passing samurai bee ( a real no-no in haiku writing) – so, alas, this is a senryu – in a picture! 😉

And what is a senryu.  Well in the past no honourable haiku poet would be caught dead writing a senryu – so if they wrote them they wrote them under a pseudonym – they were bar-room entertainment if we were to try to relate the usage of this type of poem to our modern days.

Over the years – beginning in the English-speaking world it seems, senryu  came up a bit in the world.  They are now sometimes called “human haiku”,  because they aren’t necessarily about the seasons, spirituality, nature or wabi sabi  in fact,  they often have to do with the more human, let’s say mundane aspects of life.  They still have the “short –  long – short” no more than 17 syllable word format (or for the more classical writers 5-7-5 syllables). It’s the subject that makes the difference between a haiku and a senryu.   Sometimes they are humorous, sometimes really tragic, sometimes erotic and very often down-right vulgar.  Sometimes they use metaphors or word play – and other poetic “devices” common in English poetry.  All very unacceptable in formal haiku circles.  Suffice it to say that through the last few decades in Japan and the English-speaking world,  senryu suffers less stigma than in the past – though many “serious” haiku writers still look down upon senryu and those who write it.  I’ve also been informed by more authoritative persons than myself that in Japan, scholars and universities still don’t recognize senryu as “real” poetry and it is not taught, though there are senryu magazines, contests and anthologies.

If you decide to link up with me … please tag Bastet’s Monday Haiga Challenge so that I can find you easily and link up with the Mister Linky app so that others can find you more easily!

Have a great week.


Sabi is a Chaise Longue – Haiga/Haibun – March 28, 2016

What is “sabi”?   Something old, past, demode … something that’s somehow a faded memory like the old plastic chaise longue in the haiga above,  that in its heyday was an object that made someone happy or proud to own it.  I can almost feel the sensation that must have accompanied that first vision of the object … the elation.  Now, so many years have passed.  The chaise longue sits in my son’s garden in Padua, slowly losing it’s lustre as it weathers.  No one remembers who bought it .. the house has changed had many many times over the years as one group of student substitutes another, no one even uses it except the cat. That to me is one meaning of “sabi”.

chaise longue
memories of summer’s days
long forgotten
© G.s.k. ‘16
Well, that is one of the aspects in my opinion of “sabi”.  What does the Encyclopedia Britannica have to say?


  • place in Japanese culture

    Japan: Aesthetics
    …related are the twin ideals of cultivated simplicity and poverty (wabi) and of the celebration of that which is old and faded (sabi). Underlying all three is the notion of life’s transitory and evanescent nature, which is linked to Buddhist thought (particularly Zen) but can be traced to the earliest examples of…
  • poetry of Bashō

    • Bashō
      One term frequently used to describe Bashō’s poetry is sabi, which means the love of the old, the faded, and the unobtrusive, a quality found in the verse

      Scent of chrysanthemums . . .

      And in Nara

      All the ancient Buddhas.

    • relation to tea ceremony

      Sen Rikyū
      …who founded the Japanese tea ceremony. He firmly established the concepts ofwabi (deliberate simplicity in daily living) and sabi (appreciation of the old and faded) as its aesthetic ideals. During his time the teahouse became smaller (from Shukō’s 4 1/2-mat room to a…