The relation of Nishida Kitaro's view on art to Confucianism

Abstract

Nishida Kitaro's term "artistic intuition" has four aspects. The first aspect is connected with creativity. The second is grounded in the body. And so, Nishida pays attention to "imitation" which is a means to obtain it, and "habit" which enriches it. The third, its subjectivity is moved by an "internal creative force", which is connected to "the unifying force of the universe". Nishida insists on "the unity of subject and object" grounded on "love". This is "a great world". The fourth, in this case, Nishida uses the word "unity", but he thinks that consciousness of the subject distinguishes objects. Nishida attaches importance to personality. Then Nishida focused on "a greater self", a sort of sublimated subject, and "a great world", a union of subject and object. The framework of Nishida's perspective on art is analogous to Ito Jinsai's framework of which benevolence(=ren) forms the undercurrent. Their framework is based on a kind of correlation between heaven and humans. And this correlation is grounded on love(or ren). Nishida and Jinsai see the dynamic relation between humans and nature as based on love, and the establishment of a new and great world.