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Tanaami’s paintings feature complex structures fusing high-rise buildings, boxing rings, and Buddhist reliquaries, along with pine trees, echoing the hallucinations he experienced during a hospitalization for tuberculosis. The intricately intertwined pine trees appear to be influenced by the “kanji character trees” found in the folk paintings of the Yi Dynasty, which Tanaami admired. The trees are rendered with vivid luminosity, resembling neon tubes floating in darkness, with their branches spreading like fiercely blazing flames, evidently symbolizing vitality. There are visual references to Mount Penglai (Horai), believed in China to be a mystical mountain inhabited by immortals, reflecting Tanaami’s interest in ancient Chinese Shenxian folk beliefs in immortal wizards. Together, these elements imbue the canvas with a ritualistic presence evocative of a temple altar.