François Lachaud

F. Lachaud’s research explores the intersections of Japanese folklore, religion, literature, art, and material culture, tracing how traditions shape cultural and intellectual life. With an interdisciplinary approach that blends textual and visual analysis, he examines the ways beliefs, artistic expression, and historical narratives evolve across regions and periods, from medieval Japan to the present.

I- Folklore, Folk Crafts, and Local Religion in Japan

F. Lachaud studies the links between folklore, religion, and material culture in Japan, especially in the Tōhoku region and Hokkaidō. His work looks at the development of folklore studies, traditional crafts, and the heritage of Northeast Asia’s indigenous peoples, particularly the Ainu.

A key figure in his research is Enkū (1632–1695), a wandering monk and sculptor whose life blended Buddhist devotion, mountain asceticism, and local beliefs. He travelled widely, reaching Ezo (modern-day Hokkaidō), where he carved simple wooden statues as acts of faith rather than artistic works. These carvings anticipated later efforts to preserve Japan’s disappearing crafts and traditions. His work, like that of Mokujiki (1718–1810), was later rediscovered by scholars and collectors drawn to its simplicity and spiritual depth.

The religious world in which Enkū moved was one of overlapping traditions, where Buddhist practice merged with shamanic rites and local cults. Among these, Lachaud has studied the worship of Oshirasama, deities honoured in farming communities through rituals led by blind female shamans. While deeply rooted in agriculture, this tradition also connects to older indigenous beliefs in Northeast Asia, where shamanism and Buddhism have long coexisted. Yanagita Kunio (1875–1962) recorded similar traditions in his studies of Tōhoku’s oral culture, portraying the region as a centre of resilience and adaptation.

II- Warriors, Ghosts, and the Memory of War

F. Lachaud examines the role of Heike monogatari (The Tale of the Heike) in shaping Japanese ideas about war, heroism, and remembrance. Written in the medieval period, the text reflects the warrior code while exploring Buddhist themes of impermanence (mujō) and karma. It had a strong influence on nō theatre, especially in plays depicting the lingering spirits of fallen warriors. These performances offer deep reflections on the fragility of life and the complexities of heroism. They also helped establish a lasting sense of melancholy and tragic memory in Japanese culture.

Beyond theatre, Heike monogatari has inspired woodblock prints, paintings, and other artworks that turn stories of war into meditations on mortality and the fleeting nature of fame. Its themes still appear in modern art and literature, reinforcing its place in Japan’s cultural imagination. Lachaud also studies how historical narratives and artistic traditions shape cultural memory across generations.

III- Monks, Antiquaries, and Explorers: Cultural Exchanges in East Asia (1600–1900)

François Lachaud’s research explores the significant contributions of the Ōbaku Zen School, whose leading figures—Yinyuan Longqi (1592–1673), Gaoquan Xingdun (1633–1695), and Ryōō Dōkaku (1630–1707)—shaped the religious and artistic landscapes of Edo-period Japan. Beyond their influence on material culture and scholarship, these monks left an enduring imprint on antiquarian thought, exemplified by Kimura Kenkadō (1736–1802), whose natural history collections and artistic pursuits reflect the intellectual spirit of the Ōbaku tradition.

Lachaud places particular emphasis on Matsuura Takeshirō (1818–1888), an explorer, ethnographer, and antiquarian who extensively documented Ainu traditions, language, and material culture. His meticulous records and collected artefacts exemplify a commitment to preserving the cultural heritage of marginalised communities while reflecting the aesthetic fascination with Ezo shumi (Ezo taste), which celebrated the perceived exoticism of northern Japan. 

Matsuura’s work offers a striking parallel to early European ethnographies of the Sámi, demonstrating shared scholarly preoccupations with indigenous identities and their cultural significance. By situating these inquiries within the context of global exchanges, Lachaud challenges reductive narratives of Western dominance, uncovering reciprocal influences in art, religion, and language across Europe, Eurasia, and East Asia.