Paradise on Earth

Paradise on Earth

(Excerpt from the Teaching in Foundation of Paradise by Meishu-sama)

Irisies. Ogata Korin. Six-folded screen on gold ground on paper. 18th century

Irisies detail (lower image)

Paradise on earth - what a beautiful sound this phrase makes! There is probably no other phrase which gives such light and hope as this one. Many people may think it is only a dream with no possibility of becoming a reality, but I firmly believe that paradise on earth will become a reality. Furthermore, I perceive all the signs that the time of its realization is close at hand.

We must give deep thought to that great admonition of Jesus of Nazareth, "Repent ye; for the kingdom of heaven is at hand." Jesus, whose teachings have become the foundation of a religion that has spread throughout the world, would never have uttered such words if they had no validity in them.

I am sure you would like to know what kind of a world paradise on earth will be, so I would like to describe the picture I have in mind. To put it simply, paradise on earth is a world of happy people. It is a world free from disease, poverty and conflict, a world with a most highly evolved civilization.

How can this present world, where humanity is suffering in agony from all kinds of miseries - one full of disease, poverty, conflict - be transformed into a paradise? This is the big issue for us to solve. Since disease is the main one of the three great miseries of man, a way of eradicating it must first be discovered. Next is the problem of poverty.

The primary cause of poverty also lies in disease; the secondary cause lies in distorted thoughts and poor administration and the defective state of our social structure. The third problem is strife-consciousness, the cause of which lies in the fact that man is still in a stage of barbarism. The essential question is, how can these three great misfortunes of mankind be eradicated? I have become convinced that these problems can indeed be solved.

True salvation should encompass both the spiritual and physical bodies. It should bring physical health, freedom from poverty, and a total sense of material happiness and contentment for the entire family.

There are religions which have the power to save man spiritually and mentally, but not materially. For this reason, most people have come to believe that the sole purpose of religion is spiritual salvation and that any faith which aims at material blessings must be a low form of religion. This is absurd. There is probably no one who does not desire material blessings.

It is only when you yourself have learned to live happily through the spiritual teaching you believe in that you will be able to help others who are still suffering in misery so they may become as happy as you. Seeing your joyous state, they will begin to feel that the teachings you are trying to share must contain truth.

To be a successful example yourself is the most effective way of spreading a spiritual teaching. Even I did not have the courage to recommend this faith to others while I did not enjoy all of the conditions for happiness. Thanks to God's divine help and blessings, I did attain happiness. When I knew this beyond any doubt, I became determined to expound the teachings.

Paradise on earth will be a place where all who have reached a state of genuine happiness are unified in one world. This will indeed be the true state of the earth when it becomes a paradise.

January 25, 1949

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ART

Those who are enriched

By their deep appreciation

Of all the fine arts

Are people indeed

Living in paradise.

I think a religion

Without any teachings on Art

Does not have the power

To lead to paradise.

The most precious

Art of all

Is the Art that

Gives pleasure to man,

Uplifting his heart.

~ Mokichi Okada

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OGATA KORIN

Since my youth, I have always liked painting. Of all the great painters throughout the ages, Korin Ogata is my favorite. Among the artists belonging to the Korin School, there are those who have admirable qualities, such as Koetsu, Sotatsu, Koho and Kenzan. Korin, however, is by far the best. He depicted the truth of his subject in the simplest way unparalleled by any other. He disregarded the physical form of his object, yet he faithfully managed to present it in its entirety. His technique is comparable to a Japanese tanka, a 31-syllable poem, that inspires readers like no speech can.

What amazes me most is the fact that he took a bold departure from traditional Japanese painting, which had held on to stereotypes imported from China. He got rid of lines and made designs of his subjects. Simply stated, he developed a revolutionary painting technique, making a courageous breakthrough from conventional restrictions.

Korin's achievements brought about a revolution in art circles in the Meiji period--more than 200 years after his death. Let me share with you an episode illustrating this connection, which happened more than thirty years ago, when I had a chance to meet with Mr. Tenshin Okakura (1). Okakura had just begun a life of seclusion in Izura, Ibaraki Prefecture, accompanied by his associates, Taikan Yokoyama (2), Shunso Hishida (3), Kanzan Shimomura (4), and Buzan Kimura (5). He shared with me his vision for the future of Japanese painting, which not only gave me immense insight but also made me aware of his most unusual talents. I spent a whole night talking with Shimomura and Kimura. Shimomura said, "The reason Mr. Okakura founded the Japan Fine Arts Academy was to reactivate Korin in modern art. Our real intention, therefore, is not to use lines. Other artists despise us for our 'blurred style,' but I have no doubt that we will be widely recognized in time."

Sure enough, as most people know, paintings of the Academy soon dominated the art world in Japan, revolutionizing Japanese painting. Shimomura also said, "Realism in Western painting reached its zenith with its interest in minute details. Competing with photography, artists found themselves at a complete impasse. When there was an urgent need for a major change, some in the French art community discovered Korin. We can imagine how much they marveled at Korin's technique, which was the very opposite of elaborate, sophisticated techniques of Western realism. Subsequently, art nouveau designs were born and so was the early impressionist movement, culminating in the late impressionist art represented by such great masters as Van Gogh, Gauguin and Cezanne. Moreover, Korin had an impact on all arts and crafts, including architecture, which, fueled by the sezession movement (6), underwent a transformation from the Greek and Roman styles. As is well known, this gave birth to what is called modern architecture, forcing Renaissance architecture to the sidelines. There is no denying that the extremely simplified, world-famous architectural style created by the Swiss-born French architect Le Corbisier also was initially influenced by Korin."

Indeed, Korin was one person who, a few hundred years after his death, impacted the entire world and revolutionized an important aspect of human civilization. It is not too much to say that he deserves to be the object of Japan's pride more than any other individual. Japan has never boasted another whose contribution affected an entire phase of human civilization.

Mokichi Okada

August 30, 1949

Notes: (1) Tenshin Okakura (1862-1913) is known primarily for his attempts to protect and restore traditional Japanese art forms. He began studying English at nine, and entered Tokyo School of Foreign Languages at eleven. Later he studied at Tokyo University under Ernest F. Penollosa, professor of philosophy and economics, who had great interest in Japanese art. In 1886 Okakura traveled to Europe and America to study Western art and art education. Okakura was one of the founders of Japan's first official art academy, Tokyo Bijutsu Gakko (now Tokyo University of Fine Arts and Music) which opened in 1889.

(Meishu-sama enrolled at Tokyo Bijutsu Gakko in 1897 when Okakura was president. After a few months, however, Meishu-sama had to withdraw from the school because of his eye trouble.) Later Okakura lectured and traveled in the United States and Europe as part of an effort to educate the West about Asian culture. Among his published books, the best known is The Book of Tea (1906). In 1905 he became advisor and later assistant curator to the Chinese and Japanese Department of the Boston Museum of Fine Arts. He often commuted between Boston and Japan. Tenshin was Okakura's pen-name, his real name being Kakuzo.

(2) Taikan Yokoyama (1868-1958) is best known for his masterpiece: Cherry Blossoms at Night, a pair of six-panel folding screens. He was prominent in the movement led by Tenshin Okakura to develop a new style of Japanese painting respectful of, but not enslaved to, past traditions.

(3) Shunso Hishida (1874-1911) copied many religious paintings in Kyoto and Nara for the Imperial Household Museum (now Tokyo National Museum) and taught at the Tokyo Bijitsu Gakko. Tenshin Okakura was his mentor.

(4) Kanzan Shimomura (1873-1930) was a faculty member of Tokyo Bijutsu Gakko, appointed an artist for the Imperial Household, and.a student of early Buddhist painting and Tosa School scrolls.

(5) Buzan Kimura (1876-1942) is best known as a Buddhist painter. (6) Sezession is a German word referring to a movement engineered in 1897 by a group of young artists including Otto Wagner. Irisies. Ogata Korin. Six-folded screen on gold ground on paper.

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THE PARADISE OF ART

June 15th is the annual commemoration of "Paradise on Earth." Johrei Fellowship centers and groups observe this important milestone in our organization's history by holding special services during this month.

Meishu-sama said that the state of existence known as the "Paradise on Earth" is part of the Divine Plan. He elaborated that this process of creating an earthly paradise will present numerous challenges that humanity must navigate; therefore, the choices that individuals make—both individually and collectively—are increasingly critical.

Meishu-sama added that "the most important step to making this (Paradise on Earth) a reality is to discard Shojo attitudes (Japanese expression for an inflexible, narrow, limiting, feudalistic, and anachronistic attitude) In other words, there should appear a movement which includes religion, science, government, economy, art and every other area of material life, yet transcend them all." (A Daijo Religion)

Observing events taking place here in the United States, it is clear that many things are at an impasse. There is extreme division, disagreement, confusion, and ignorance, and people in position of power seem unable—or unwilling—to accomplish anything without resorting to deceit or fostering disharmony.

In light of these concerns, society needs to seek an alternative narrative and focus to try to balance out the constant clamor and discord that is taking place around us. We must acknowledge that these concerns and incidents are genuine and that they will not decrease by simply ignoring them. At the same time, it is helpful to remember Meishu-sama's guidance, that everything happening in this world—positive and negative—is a necessary function for the advancement of humanity into the Age of Daylight.

Art and Beauty

Meishu-sama wrote that the beauty reflected in the hearts of individuals was essential for this "new civilization.” 

The true significance of art in general is this: to deepen a person’s intelligence and lead his or her soul to a higher level by conveying the artist’s spirit through the senses. If it is purpose is only to amuse, then it cannot be called art. The same thing can be applicable to literature, drama, dance, etc. To appeal to the popular mind through art, eliminate brutality from a person’s character, and to make one more civilized in the true sense, these are the raison d’etre of art.

By coming in contact with something beautiful, we can be inspired by the loveliness of the form and this is important. But far more important than the physical beauty is that which is within. When we can sense the spirituality of the creator of a lovely art form we can receive true inspiration. This contributes to our spiritual elevation and expanding consciousness in every way. Interest and visual appreciation of physical beauty can fade. But when we can feel the loveliness of nature we become more aware of the beauty of the creator, and we begin to develop our inner beauty, that of the spirit, and so receive greater inspiration.

               (A Remark on Art)

As  beauty manifests in mind, heart, and spirit, and through words and actions, society will respond likewise, leading to transformed relationships between individuals as they become more thoughtful and considerate toward each other.

Religious Art

In the Teaching Religion and Art, Meishu-sama mentioned notable figures in history, such as Prince Shotoku and the priests Gyoki and Kukai in Japan, Da Vinci in the world of religious paintings, and Bach and Handel in the field of religious music.

In another essay titled A Religion of Art, Meishu-sama discusses the influence of Chinese and European art on Japanese artistic sensibilities, eventually assimilating into a unique and inseparable part of Japanese culture. These essays are among several included in the Foundation of Paradise publication about the relationship between faith practice and the creative arts.

The central practices of spiritual practice, gratitude, goodness, truth, and the expression of beauty are part of the threads woven together to help manifest this vision of “paradise on earth.” Meishu-sama also included commentary about health, natural agriculture, and the importance of respecting nature, flower arranging, and working in harmony with the natural world, all of which emanated from personal experience and research.

Meishu-sama studied artists and took a great interest in the world of creative expression from a broad and varied perspective including painting, calligraphy, pottery, sculpture, architecture, music, the performing arts, literature, and landscape design and gardening. He collected rare and exquisite works of art, which are now displayed for the public's benefit, in two splendid museums in Japan.

Meishu-sama was more than a spiritual leader. He was also a very accomplished artist and designer. He passionately believed that the mission of the artist was to raise the vibration of the people viewing their work, thereby elevating society to a higher level of spiritual consciousness. He said that it would be a struggle for humanity to achieve complete happiness and fulfillment without artists being able to express their inner hearts and viewed them as playing a significant role in his mission.

When we observe Meishu-sama's creative works, especially his paintings and calligraphy, which were dedicated as Sacred Scrolls, they connect with the viewer through the eyes, the brain, and the heart, and affect the viewer in mind, body, and spirit. It would be appropriate to categorize his calligraphy and Kannon paintings as important religious art that will be regarded with reverence for centuries to come.

Religious art in Johrei practice and depicted in the works of Meishu-sama has more in common with religious art from other traditions, cultures, and religions than what may be perceived.

From a spiritual perspective, religious art serve two primary purposes: education and meditative contemplation. In past centuries, religious art educated viewers about the tenets of a particular faith. For Christians, the story of Jesus' life was depicted in elaborate stained-glass windows and detailed paintings and notable artists were sponsored by the church and miraculous acts of saints were also depicted similarly.

For a practitioner of Buddhism, the paintings, statues, and carvings dedicated to the Buddha conveyed the Enlightened One's meditative process toward attaining Nirvana (Enlightenment), which, in turn, allowed the practitioner to emulate the Buddha's mind.

Art dedicated to religion and faith practice serves as a vehicle to encourage meditation, reflection, self-examination, prayer, or even spiritual passion, all on its own, separate from the written doctrines of faith.

Ogata Kōrin

Among the great artists from Japan, Meishu-sama was particularly impressed by the works of Ogata Kōrin. His essay about this remarkable artist heightens one’s curiosity about why Meishu-sama was attracted to his works, even though they were not exclusively dedicated to religion. Perhaps our founder was drawn to the spiritual vibration emanating from the artworks. Or, maybe it was the creative use of gold leaf and burnished metals that captured his attention.

The use of gilded materials evokes the observer's thoughts of religious icons from the Eastern Roman Empire, also known as Byzantine Art. Many such paintings portray the Virgin and Holy Child through the jewel-like beauty of icons depicted in the sacred environment of a cathedral, calming the heart and mind to a quiet, peaceful, and meditative response.

We are taught that we do not pray to the calligraphy on the Sacred Scroll itself but that through the act of prayer, we connect to the divine being of the highest order. In the Greek Orthodox Church, it is believed that a religious icon acts like a divine curtain between the physical realm and the spiritual realm and that when the believer prays in front of the icon, the spiritual energy depicted in the figure moves outward in the direction of the faithful, and a connection is established during the recitation of prayer.

In other orthodox religious orders, religious art serves as a means to align one's heart and mind with God, offering us common ground with other faith practices through this sacred expression. In our practice, we also express our reverence for the Divine by praying in front of a sacred scroll.

Art Collections and Historical Works of Art

In Western civilization, the practice of collecting art for display in museums began just a few centuries ago. Considering that the history of art and its relationship with religion goes back several thousand years, that is a relatively short time. Previously, most of what is considered fine art in modern society served a different purpose. It was primarily how people experienced an aesthetic dimension of religion.

Art paintings and pictures evoked powerful imagery that affected the intellect as well as the emotions, perhaps more so than the written word, because many people did not have the means to seek formal education. Here, the expression "A picture is worth a thousand words" is an apt idiom.

Exceptional artists and sculptors, such as Michelangelo, Da Vinci, Caravaggio, and Rafael, as well as many gifted poets, architects, and writers, were often struggling artists who were sponsored by a wealthy benefactor or, in most cases, the church.

Similarly, in other religions, the leaders of temples, synagogues, or mosques employed artists and craftspeople to utilize their talents in portraying their respective religion in the grandest vision, inspiring the masses. Many of these structures have withstood the test of time and are now popular tourist sites as well as destinations for pilgrims worldwide.

Red and White Plum Blossoms

Ogata Kōrin's "Red and White Plum Blossoms" is widely regarded as one of his most renowned and accomplished works. It was acquired by Meishu-sama and is housed in the MOA Museum in Atami, Japan. People have seen this image on numerous book covers, in magazines, and on the internet, and it has become recognizable as a prototypical work of Japanese art, similar to the perhaps more popular image of The Great Wave off Kanagawa by the famous Japanese ukiyo-e woodblock artist, Hokusai.

In this exquisite creation, Red and White Plum Blossoms, Kōrin chooses a simple landscape scene of two flowering trees on either side of a stylized stream to create an almost surreal vision. The jewel-like colors appear simultaneously abstract and realistic, and the background, featuring subtle gold leaf, has an ethereal quality. In his essay about Kōrin, Meishu-sama pointed out that the artist "disregarded the physical form of his subject, yet he faithfully managed to present it in its entirety."

This example is demonstrated by the stream in the artwork, undulating with curls and metallic spirals, resembling an abstract depiction of flowing water, yet oddly enough, appearing like it is lacking in depth. It is as if the artist whimsically chose to portray it in this manner. Nevertheless, the viewer is left with little doubt of his discerning eye and skilled portrayal of nature through the form of the plum tree, with its natural contorted form and tangle of branches. Ogata Kōrin's artistic creations were revolutionary and were fittingly recognized by a spiritual revolutionary, Meishu-sama.

Art Transforms the Soul

In his essay My Work Must Continue, Meishu-sama writes: "The museum I am going to build will gather the finest examples of Oriental art and fulfill the desire of art lovers throughout the world. It will be a celebration of art and a showcase of Japan's cultural achievements. This project may have the effect of diminishing the stigma we have acquired as a "war-loving people." When the museum is finished, it is to be hoped that officials will invite visitors from abroad to see it. If we can serve the government in such a way, we can be proud to have made a significant contribution to our nation."

Regarding the role of the artist, Meishu-sama shared the following: "The primary responsibility of a painter is not only to provide a feast for the eyes of as many viewers as possible but more importantly, to raise the viewers' spiritual vibrations by bringing elevation, virtue and beauty to their hearts. True, painters have freedom in exhibiting originality, expressing passion and selecting subjects, but they would be defeating the purpose of art if they were to abuse their freedom in any way. Art not only heightens the intellect, but also visually conveys the spirit of the artist to the viewer for spiritual upliftment."

(My Philosophy on Art)

Meishu-sama created museums to represent the art of beauty – an essential part of the ideal of Paradise on Earth. The world today requires a revolution of both minds and hearts. Let us honor this occasion by taking the opportunity to visit a museum or art gallery to appreciate the soul of the artist and elevate our hearts and minds.

Happy Paradise on Earth Day!

Johrei Fellowship June 2025