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     One of the precepts central to our work is that the ideal of God is the construction of paradise on earth. If paradise is to be a world of no strife, of eternal peace complete with truth, virtue, and beauty, then that which will be most developed are the arts. Indeed, religion and the arts have a close, inseparable relationship as shown by the concept that has existed since antiquity that religion is the mother of the arts.
     An intriguing point, though, is that it would be fair to say that in the countless religions since olden times it is almost impossible to find any of their founders who showed concern for the arts. Of the few of those individuals of religion with an interest in the arts are Da Vinci and paintings and Bach and Handel with music. In Japan, there was Prince Shotoku, sponsor of Buddhist art, and Kukai and Gyoki with sculpture. In China of the Sung and Yuan dynasties and in Japan of the Tempyo period were a few famous priests who were skilled painters. There is a reason for this phenomenon of which I will now write.
     The reason for the lack of connection between religion and art is that it was the world of night. That is, the dawn was a long way off, and therefore preparation for heaven was not necessary. It was, to speak honestly, a period of hell. What best shows this are that the conditions of the founder of each religion were hell-like rather than paradise-like. To spread their teachings was to tread a path of thorns, and their suffering was tremendous. Talk of paradise or the arts was out of the question. It would be fair to say that until now not one holy person has said that he or she would construct paradise. The timing was not specified, however, but the appearance of a world of paradise-like ideal was prophesied. These prophecies include the world of Maitreya by Shakyamuni, the approach of heaven by Christ, the age of just agriculture by Nichiren, the world of the pedestal of ambrosia by the founder of Tenri, and the age of pine by the founder of Omoto.
     We, however, have come to know that the time of the arrival is near. We announce to all nations that we now stand in front of the birth of paradise, of heaven. Of course, such a great plan, which some might call megalomaniac, could never be imagined with the help of anything like the manifestation of human power, but as it is a part of the divine economy of the absolute authority of God, there is not one speck of doubt as to its possibility. That this possibility can be known is that God is now demonstrating many astonishing miracles which show that power and that within each follower of World Messianity is being fostered a firm determination of unshakeable faith.
     As a physical manifestation of what I have said above, World Messianity puts its most effort into the arts, and as a start is now constructing models of paradise in picturesque Hakone and Atami. To fully recognize the above is to understand the true significance of the appearance of World Messianity. Briefly, religions to date had the role of the basic formation for the development of paradise, and World Messianity has appeared to fulfill the mission of the role of building paradise on that foundation.

“Religion and Art,” Teachings of Meishu-sama, Volume One, 1960, page 56.

“Religion And Art,” Teachings of Meishu-sama, Volume One, Revised Edition, 1965, 1967, page 71.

“Religion and Art,” Foundation of Paradise, 1984, page 249.

“Religion and Art,” Meishu and His Teachings, no date, page 28.