Rock art may be compared to Chinese ideograms that still breathe the air of their original representations. In Heian Japan (794-1185), the brush did not "function

as a tool of conscious expression but as a kind of seismograph, feeling the oscillations and vibrations of the world and of the heart, and signing these on paper, silk, bamboo splint, etc. If writing is a medium, it is a medium in the occult sense—it delivers from other realms through the human body, or rather through the heart/mind."

Painting on, or chiseling into, rock exposed to the whims of weather, chaos of the Wind People, to twisted ankles, sore hands, to heart attacks in the wilderness like strokes of the Heian 'running' style brush, rock art was made along old paths and springs from the invisible depths that is the natural world.

In the forest,
           stone faces
have grown green beards.

It could not have been made in an urban artist's studio, displayed in art gallery or a museum: its landscape, too, would have had to be installed. Though we can date it within a few thousand years, and learn what minerals were used for color and from where, one must also make the cambering trek to the feelings that are there.

Before grammatical language, artists had already created works that signified the unknown universe of one's self. To recall their achievement, he said there were places on earth where souls are magnified, ripening places he called them, because souls ripen faster there. He said when many people gather in such places it feeds the power of the ripening place, so that we need scientists and psychologists; also poets, mystics, and the shamans of our time.