The White Path Between Two Rivers is a painting depicting a metaphor described in an annotation of the Amitābha Sūtra known as the “Commentary on the Amitabha Sutra”. 

The story follows a traveller who is fleeing from a group of bandits and ferocious beasts. However, during his escape, he encounters a large river that blocks his way. There is only a narrow white path leading across the river to the opposite shore.

On the left side is a river of raging flames, while on the right side is a turbulent river of muddy waters. As the bandits and beasts are closing in on the traveller, he has no choice but to proceed along the white path. With a focused mind, the traveller carefully walks along the white path, and miraculously, the flames do not burn him and the waves do not engulf him. He reaches the other shore and escapes danger.


二河白道図とは、「 観無量寿経 」の註釈書である「 観無量寿仏経疏 」に説かれている「 二河白道 」という比喩を図にしたものです。

あるところに旅人が賊の群れと猛獣に追われて林を逃げていました。すると目の前に大きな河が流れていて行き止まってしまいました。 大河には一本だけ、白い道が通っていて対岸につながっているようですが、幅がとても狭く、簡単には渡れそうに無かったです。

しかも白い道の左側は燃え盛る炎の河であり、右側は大波が押し寄せる濁流の河です。しかし賊と獣は旅人を殺そうとすぐそこまで迫ってきていて、絶体絶命の旅人が意を決して白道を進もうとしたとき、一心に白道を進むと、不思議と炎は旅人を焼かず、大波も彼を呑み込みませんでした。そして旅人は彼岸に着いて難を逃れたことが出来た、という話です。

halo
Akihiro Hasegawa (2025)
oil on acrylic and wooden panel

exhibition view
Can I Trust Your Voice When the River Calls

As I stand before this river, I wonder if I can actually cross it. The challenge feels impossible. Afterall, at this moment, I feel overwhelmed by both fire and water, as bandits and beasts relentlessly pursue me.

Every time I hear such metaphors, I often find myself thinking, “This is impossible for me.” Yet, amidst that despair, I also feel a stirring nobility within.

In the tale of the White Path Between Two Rivers, what truly strikes me is the traveller’s courageous decision to take a step forward in search of the voice. The voice doesn’t just speak out at that moment; rather, I think it shows us that the voice has been calling us all along. For me, true salvation isn’t found in some distant future but in the recognition of our past. However, the traveller can only hear the voice after making that crucial first step on their own.

Again, as I stand here, momentarily immobilised by the river’s vastness, I contemplate how to take that step, why I struggle to do so, and which lingering memory this “voice” embodies. With these reflections at the forefront of my mind, I created these paintings this time, drawing inspiration from the river itself.

The Murder of My Faith // 僕の信仰を奪った烏
2025. 03
W243 × H182 × D3 cm
UV printing on acrylic panel,  wooden frame

When Hasegawa introduced the concept of “The White Path Between Two Rivers,” a Buddhist artwork depicting two rivers―one of fire, representing anger and hatred; and the other of water, symbolising obsession and greed―it illustrated a narrow White Path that leads to the opposite shore. This path represents a pure heart that earnestly seeks rebirth in the Pure Land. Believers can travel this path safely by praying to Amida with unwavering devotion.

I feel like I am the protagonist in the painting and I am on my journey toward believing in the existence of the White Path, attempting to reconcile my faith with the notion of religion. Through the Pokok series, I hope to reconnect with my Malaysian heritage. Perhaps one day, when the rivers call, I will find the trust to follow the voice.

長谷川さんが提案してくれたコンセプト「二河白道」は2つの河を描いた仏教絵画で、怒りや憎しみを表す火の川と執着や貪欲を象徴する水の川であります。この白道は、浄土に生まれ変わろうと切に願う純粋な心を表しています。信者は、揺るぎない献身をもって阿弥陀に祈ることで、この道を安全に進むことができるようです。

私は絵の中の主人公になったような気分で、自分の信仰と宗教との調和を図りながら、白い道の存在を信じる道を探しています。Pokokシリーズを通して、私はマレーシアの繋がりと再び結び直したいです。おそらくいつか、河が私を呼んでも、私は正しい声に信じるようになるでしょう。

Pokok 3
2025. 01
91 × 91 cm
mineral pigment, acrylic ink on washi paper