The home of the Grail is in the unexplored area of the soul. In variations of the story, it is seen as a temple or castle, in a remote and mysterious place.
So the Quest for my Grail is to find in the most inner-soul of me.                    
But also outside myself; the place that might be the Grail, or Nepemako: Malakût, Shambhala  or Tushita Heaven.
So I photographed all the reflections for me, they all are of dependent existence  and could be… a glimpse of these places.
Nepemako is a “hidden country”. You can find it on maps, in the bend of the river Brahmaputra [ in Tibet], but it belongs also to another reality ; It is present but invisible. The Islamic thinking has also an invisible world; the Malakût, the imaginairy world.

 First of all, let’s consider the word “landscape” [written  風景in Japanese   , And pronounced fukei  ]  , the first character of wich means “ a blowing wind “.
The second character evokes the image of an expansive field.  
With a couple of additions you can get a total other 4 characters.

So as I close my eyes [ to let my imagination go], the light rays that pour  into my retina’s, I see the brilliant reflection of the sun, a deep sky or a wide open ocean, a mountain burning like a forest with new greens, and then a cityscape that I have taken at some time.
But even if I took photographs of all that, they would still be but one part of what nature has furnished as landscape.
And no matter how many exposures I take, the photography will still be only a borrowing from nature—though that’s probably fine for what we call landscape photography.
Walking about searching for that one masterpiece of shape or composition is, after all, an experience that must be considered part of the genre of landscape photography.