The starting point of this research lies on an observation: since japonisme appeared in the second half of the 19th century, the studies or exhibitions about ukiyo-e and Bashō have been always more numerous whereas the haiga, haikai style painting, still remains quite unknown.
Our hypothesis was that this lack of studies concerning haiga lies on differences between France and Japan concerning the concepts of “poetry” and “painting” and, consequently, of the relation between them, i. e. between “word” and “image” in general. We supposed that ideological choices could also explain the preference for ukiyo-e in Western countries.
This research is composed of three parts. The first one studies the relation between poetry and painting in Japan from an historical point of view, from the 7th century until the 17th when haiga emerged. The second part consists of different analysis of haiga and haikai translations. The third part studies the discourse of japonisme in France in the framework of orientalism as demonstrated by E. W. Said. It also compares the concepts of “writing” and “painting” in France and in Japan. This comparative approach takes into account the differences concerning the techniques and the inventions in the fields of printing and image reproduction such as photography.
Keywords : Haiga, haikai, haiku, japonisme, ideogram, icon, painting, poetry, Japan, Bashō, translation, reception, intersemiotic transposition, word, image, picture, calligraphy, printing, edition