Nirvana is a work in which I have sought to give form to the world of “interdependent arising”—a realm where all beings influence one another and continually come into existence—through my original technique of Tsuchi-saiga (earth-pigment painting) and the use of diverse symbolic motifs. Clouds, water, mountains, floral patterns, sacred beasts, spiritual creatures, and various religious icons coexist within the same pictorial space, creating a vast cosmology that transcends the boundaries of time, religion, and culture.

The shippō (seven treasures) pattern depicted in the lower left is a motif I have long used as an auspicious design. Yet during the creation of this piece, I came to realize that its interlocking circular structure resonates deeply with Indra’s Net in Buddhism. Its endlessly connected rings, each reflecting the other, express a world where nothing can exist in isolation—an image that embodies the very essence of interdependent origination and forms one of the conceptual pillars of this work. The floral motifs derived from Japanese sarasa (chintz) also carry the history of Indian textiles that traveled along the Silk Road, absorbing the colors and cultures of various lands. This gentle form of transmission mirrors the history of Buddhism itself, which expanded not through conflict, but through embracing and incorporating other traditions.

Water has always been one of the most important elements in my work. Here, too, it appears as clouds, rain, waterfalls, and waves, changing form as it circulates and bestows blessings without discrimination. Its ever-flowing, unattached nature—offering compassion without seeking anything in return—embodies a bodhisattva-like presence within the painting. The small fish scattered throughout the composition symbolize freedom and insight, crossing the boundaries—between sky and earth, land and water, self and other—that humans tend to construct for convenience.

A phoenix, which descends upon a world in harmony, and a qilin, which appears in realms governed by benevolence, are placed as protective presences overseeing the entire scene. This world sometimes emerges clearly before me, and at other times it disappears amid the turmoil of human suffering. Yet when the mind becomes still, it reveals itself once again. Although I cannot erase my human consciousness, I painted with the sincere wish that this luminous world would not be clouded by worldly desires.

The painting also includes the white elephant, a Buddhist icon, and the Inari fox, a symbol of Shinto. Through their coexistence, I sought to express Japan’s unique spiritual culture, which has long embraced Shinto-Buddhist syncretism and an animistic worldview in which gods, buddhas, spirits, and even yokai exist side by side. I deeply cherish the Japanese belief that all forms of life are equally precious, and I wished to reflect this ethos within the work.

Technically, the painting employs multiple kinds of metal leaf—pure gold, water-gilded gold, silver, aluminum, and iridescent foil—combined with the soft texture of Tsuchi-saiga. This layering creates a surface that holds light within it, allowing it to glow gently from the inside. It is an expression I have pursued for many years, and one that I believe was essential for depicting the world of Nirvana.

Nirvana is, in essence, a realm of “formless silence.” Trying to express it with shapes and colors means inevitably distancing oneself from its true nature, and I had long hesitated to attempt this theme. However, by contemplating how the Buddha perceived the world while in the state of upadhiśeṣa-nirvāṇa—awake yet still embodied—I once glimpsed a vision of a world where all boundaries had melted away. Its overwhelming beauty moved me to tears, and I felt compelled to try to give it form.

Although creating form means embracing contradiction, I chose to paint this world just as the Buddha chose to convey the “inexpressible” through words for the sake of those who suffered. If the Buddha were to see this work, he might smile at my efforts. Even so, I hope that through this painting I can approach, however slightly, that radiant world without boundaries. And I hope to continue deepening and renewing my vision of Nirvana in the works to come.