The paper focuses on the concept of transculturality introduced by Wolf-gang Welsch (cf.Welsch 1998, Welsch 2004), adapting it to the analyses of different fields of convergence in contemporary Polish culture: employing and transforming old Oriental genres into more hybrid forms appearing on the Internet, becoming parts of artistic exhibitions or being incorporat-ed into artists’ books. It is a convergence of a special kind – “transplant-ing” the genres into the new medial ground must have been preceded by their basic assimilation in the new culture.

The term ‘convergence’ is used to describe different technological, in-dustrial, social and cultural processes (Jenkins 2007: 9, Jakubowicz 2011: 27).

All of them prove important in the analyses concerning the “transplan-tation” of the foreign literary and artistic genres, which seem utterly in-congruent with the Polish tradition. In the paper, however, I concentrate only on the cultural dimensions of the problem, believing they define an interesting field of research for comparative cultural studies. As Jenkins claims, convergence is not just a matter of sophisticated media devices but a process occurring in human minds and human communication (cf. Jen-kins 2007: 9).

I am interested mainly in three genres: haiku, haiga and haibun.The common basis of the three is haiku: a poetic genre strongly related to vi-sual arts (calligraphy, similarities of imagery in haiku and sumi-e, nanga, ukiyo-e, shared aesthetic and ethical beliefs of haijins and Zen painters – cf. Addiss 2005, Śniecikowska 2007: 243–251).