Eye of Haiga
Conceptually, if we think
of haiga (any haiga) in terms of a masterful "eye," I
would have you consider that very few persons (if any) are able to escape
the influential power of the eye when it shows greatness.
If its artistic gaze is imperatorial, it oppresses; if it is gentle, it soothes;
or if sad, it strikes melancholy in the heart and soul of the beholder, thereby in
my opinion, thereby making it successful.
However, as an influencer
it isn't probable for haiga to be honestly successful unless it is inflamed
by the inspiration behind it which keeps and holds that gaze, in
communicating to us the expression, either horrible or favorable, cheerful
or sullen, which alone can maintain the stability and persistence of
the active esthetic forces in our psyche.
As some viewers possess
naturally a discerning eye, some artists have the ability to create
haiga that goes without blinking. It is not sufficient for a good haiga to just cast a
passing glance, an action which in turn might only cause an
apathetic yawn from its public.
The haiga needs to be a
trajection of the artist's brushwork in which the ultimate
form is delicate and sparse enough, yet definite and ample enough
so that its deep-felt intensity shall become and remain lastingly
This visual organ of haiga
that I'm speaking about has a rare quality that animates the mind of its
gazers under the persuasion of illusive portrayal, while captivating them
too with concrete boldness, each being an alter-ego of the
To my thinking, fine haiga should
present itself in a humble manner, although too great an excess of modesty
should be avoided, insofar as timidity is always a restraint to the
greatness of any art form. The haiga artist especially must exercise
care not to let viewers detect self in his images, which would
immediately render all artistic efforts vain. Yet, this same artist
must master a way to share his intimate self, in order to have
the eye of haiga make any kind of correct impression on others.
an'ya . . . whose haigo
(haiku nom de plume) loosely translates to 'a peaceful light in the moonless night,'
lives in Oregon, USA.
Besides editing haigaonline,
an'ya is the director for the World Haiku Club beginners sessions and the Newsletter
Editor for the Tanka Society of America.
She has been bestowed numerous
top world-class awards and honours for her haiku poetry, as well as other verse
forms, not only throughout the United States, but in Japan, Canada, New Zealand,
Australia, Germany, France, India, the UK, Brazil, and throughout the Balkans.
an'ya has five books out
currently, haiku for a moonless night, haiku wine, crosswinds, haiku
in my apron pocket and haiku for the birds. Her personal website
can be viewed at The
Natural Light Press.
Her extended biography is
found at: www.haigaonline.com
under staff members.