How Can We Practice Sociological Arts-Based Research with Eastern Thought?

Historically and in general, Western and Eastern art greatly differ in the background of their establishment. For example, the history of Western art cannot be discussed without a tense relationship with Christianity. On the other hand, in Eastern art, there is no such tension with Buddhism. Then, what is the relationship between art and religion? In the Eastern world, people believe art and religion are fundamentally connected. Ryosuke Ohashi（1996), for example, positions the early modern Japanese art form of 「芸道」"geidō" as a realization of becoming aware of religious traditions. Also, Yanagi Muneyoshi's (1998-1961) famous concept of 〈用即美〉“Function in Beauty and Beauty in Function” is simultaneously found usefulness and beauty in an extension of everyday life.

Now, in what ways can my artistic practice as a sociological researcher who was born and educated in Japan be examined? I produce ethnographies with drawings as part of Western social science research such as fieldwork and interviews. For example, at some stage in my analysis, I create portrait paintings of my research collaborators to visually share my interpretation of them. This is part of an effort to enhance the validity of the researcher's interpretation and the ethics of the investigation. Then, in terms of art, how can these portrait paintings be viewed? What depictions of the world might be possible through the use of Eastern perspective?

In this presentation, I will focus on Kitaro Nishida, one of Japan's leading philosophers, made his poetry and calligraphy based on religious ideas, while using many examples of Western art in his philosophical contemplation process. I will consider the relationship between Nishida's “intuition” and the actualization of the space he lived and my own experience.