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Artists

Masaki Nakayama

CG artist and researcher; 43rd chief priest of Gyokusenzan Ankokuin, a Nichiren Buddhist temple; CEO of LUXOPHIA LLC. He calls himself a “photographer” of the invisible universe of mathematics, and creates the fractal work Recurrence Flowers.

luxidea.net ↗Works

Artist statement — summary

The Conditions of Seeing

Art is a new perspective.Science is a new perspective.Buddhism is a new perspective.I make them interchangeable.
01

A perspective opens and limits

Every way of seeing grants access to the world and sets the limits of that access. The work begins where those limits become perceptible — offering an encounter that changes the conditions of its own understanding.

02

Mathematical Providence

The universe exceeds the intelligence that seeks to grasp it: its mathematical order makes understanding possible while exposing its limits. Mathematics is a medium of attention — it gives thought a form that can be met through the senses.

03

Authorship as responsibility

In the lineage of New Vision photography, Vera Molnár, Sol LeWitt and Yoichiro Kawaguchi, authorship is understood as responsibility for the conditions through which something becomes perceptible.

04

The sublime and release

Beauty unsettles the scale by which experience is judged; awe is the felt instability of recognising one's measure as one measure among many. This meets the Buddhist release from attachment — holding a view while remaining free to let it go.

05

Art, science, Buddhism — interchangeable

Science opens assumptions to investigation, art alters the terms of perception, Buddhist practice loosens attachment. In the encounter with a work, each can take on the work of opening a perspective that the others also undertake.

Read the full statement (luxidea.net) ↗

Positions & education

  • Now43rd chief priest, Gyokusenzan Ankokuin (Nichiren Buddhism, Minobu school) — since 2014
  • NowCEO, LUXOPHIA LLC — since 2021
  • NowChief researcher, Yoichiro Kawaguchi Art & Science Institute Inc. — since 2018
  • NowAdjunct lecturer, Wayo Women's University and Kaishi Professional University
  • NowPresident, Hair Memorial Society (Mōhatsu Kuyō-kai)
  • EducationResearch student, Graduate School of Science and Technology, Keio University (2010–12, 2013–15, 2016–20)
  • EducationDoctoral programme, Keio University — completed coursework (2004–2010)
  • EducationM.Eng., Graduate School of Science and Technology, Keio University (2004)
  • EducationB.Eng., Department of Information and Computer Science, Keio University (2002)
  • EducationKeio Senior High School (1998)

Academic publications list him as Masanori Nakayama.

Chronology

  1. 2026.03Profiled in the Yomiuri Shimbun “Hito” column
  2. 2025.11Lecture series “Buddhism, AI and Mountaineering — You too can be captured by a cult” (Yachiyo)
  3. 2025.11Officiates the 100th hair memorial service at Ankokuin
  4. 2025.10Paper “PolySlerp: Spherical Polygon Linear Interpolation”, Journal of the Institute of Image Electronics Engineers of Japan, Vol. 54 No. 4
  5. 2025.08Appears on TV Tokyo's “Kaiun! Nandemo Kanteidan”
  6. 2025.06Profiled in the Asahi Shimbun “Hito” column
  7. 2024.09Interview in Merveille Vol. 001
  8. 2024.07Recurrence Flowers Kimono Dress on the Anime Expo 2024 runway (with Hiroko Tokumine)
  9. 2024.03Dress co-created with Hiroko Tokumine shown at Paris Fashion Week (Autumn/Winter 2024–25)
  10. 2023Opens Tachibana Gallery, a café and cultural hall in the temple grounds
  11. 2021.11NICOGRAPH 2021 Best Paper Award (“LinDA”)
  12. 2021.04Becomes CEO of LUXOPHIA LLC
  13. 2018.12Chief researcher, Yoichiro Kawaguchi Art & Science Institute
  14. 2017.08Grand Prize, Asian Digital Modeling Contest 2017 — work “Duality”
  15. 2017.06Utility model registration: spherical image display device (with Goto Optical)
  16. 2016.04Research student at Keio University graduate school (to 2020)
  17. 2015.10Best Paper Award (First Prize), Cyberworlds 2015 (“SeeGroove”)
  18. 2014Becomes the 43rd chief priest of Gyokusenzan Ankokuin
  19. 2013.04Research student at Keio University graduate school (to 2015)
  20. 2013.03Design registration: module for image display equipment (with Goto Optical)
  21. 2010.04Research student at Keio University graduate school (to 2012)
  22. 2010.03Completes coursework of the doctoral programme, Keio University
  23. 2004.04Enters the doctoral programme, Keio University
  24. 2004.03M.Eng., Keio University — thesis “Rendering of complex scattered light in participating media”
  25. 2002.03B.Eng., Keio University — thesis “Atmospheric scattering simulation based on particle shapes”
  26. 2001.09Contributes works to the book “Magical Eye” (Takarajimasha)
  27. 1998.04Enters Keio University, Faculty of Science and Technology
  28. 1998.03Graduates from Keio Senior High School
  29. Junior highMeets programming (LOGO) in a class at Keio's junior high school and is captivated by fractals
  30. 1979Born in Ichikawa, Chiba — the only son of Ankokuin temple

Research

42peer-reviewed papers
17journal papers
54presentations
5awards

Awards

  1. 20212021年11月8日：NICOGRAPH2021 最優秀論文賞．中山雅紀，野村芽久美,藤代一成：「LinDA：漫画向けの建造物の背景線画半自動生成」．
  2. 20212021年3月8日：映像表現・芸術科学フォーラム2021 優秀発表賞（「CG，CG 制作」）．大字諒，李睿哲，中山雅紀，藤代一成：「自然に振る舞うNPC群衆シーンの覚醒度感情価モデルに基づく生成—相互作用する観客の再現—」．
  3. 2017August 10, 2017: Grand Prize of Asian Digital Modeling Contest 2017. Masanori Nakayama, Issei Fujishiro: “Duality.”
  4. 2015October 9, 2015: Best Paper Award (First Prize) in Cyberworlds 2015, Visby, Gotland, Sweden. Issei Fujishiro, Naoki Haga, Masanori Nakayama: “SeeGroove: Supporting groove learning through visualization.”
  5. 20152015年3月14日：映像表現・芸術科学フォーラム2015 最優秀ポスター賞（画像生成・システム）芳賀直樹，中山雅紀，藤代一成：「SeeGroove: 可視化を介したグルーヴの学習支援」．

Journal papers

  1. 2023Masanori Nakayama, Karin Uchino, Ken Nagao, Issei Fujishiro: “HYDRO: Optimizing interactive hybrid images for digital signage content,” Virtual Reality and Intelligent Hardware, Vol. 5, No. 6, pp. 565–577, December 2023 [doi:10.1016/j.vrih.2022.08.009].
  2. 2023Akinori Ishitobi, Masanori Nakayama, Issei Fujishiro: “Visual simulation of crack and bend generation in deteriorated films coated on metal objects: Combination of static fracture and position-based deformation,” The Visual Computer (Special issue of Computer Graphics International 2023), Vol. 39, No. 8, pp. 3403–3415, August 2023 (online first on July 27, 2023) [doi:10.1007/s00371-023-03029-z].
  3. 2022Masanori Nakayama, Takami Yamamoto, Issei Fujishiro: “3D distance field-based apparel modeling,” IIEEJ Transactions on Image Electronics and Visual Computing, Vol. 10, No. 1, pp. 55–65, June 16, 2022.
  4. 2020Akinori Ishitobi, Masanori Nakayama, Issei Fujishiro: “Visual simulation of weathering coated metallic objects,” The Visual Computer (Special issue of Computer Graphics International 2020), Vol. 36, No. 10–12, pp. 2383–2393, September 30, 2020 (online first on August 8, 2020) [doi:10.1007/s00371-020-01947-w].
  5. 2020Atsushi Miyazawa, Masanori Nakayama, Issei Fujishiro: “An immersive virtual environment for visualization of complex and/or infinitely distant territory,” Transactions on Computational Science XXXVI (Special Issue on Cyberworlds and Cybersecurity), Springer LNCS No. 12060, pp. 64–78, 2020 [doi:10.1007/978-3-662-61364-1_4].
  6. 2019Saeko Shinozaki, Masanori Nakayama, Issei Fujishiro: “Visual simulation of tearing papers taking anisotropic fiber structure into account,” IIEEJ Transactions on Image Electronics and Visual Computing, Vol. 7, No. 2, pp. 106–115, December 2019 (summary presented at IEVC2019, Kuta Bali, August 21–24 (presentation day: 23), 2019, 4A–1).
  7. 2018Yuriko Takakura, Masanori Nakayama, Issei Fujishiro: “Visual analysis for the compositional process of composers in Spectral School,” IIEEJ Transactions on Image Electronics and Visual Computing (Special issue on IEVC2017, part II), Vol. 6, No. 1, pp. 22–33, June 2018.
  8. 2017Makoto Uemura, Ryosuke Itoh, Ioannis Liodakis, Dmitry Blinov, Masanori Nakayama, Naoko Sawada, Hsiang-Yun Wu, Issei Fujishiro: “Optical polarization variations in the blazar PKS1749+096,” Publications of the Astronomical Society of Japan, Vol. 69, No. 6, pp. 96:1–96:12, December 1, 2017 (arXiv: https://arxiv.org/abs/1709.02524, September 8, 2017) [doi:10.1093/pasj/psx111].
  9. 2016Makoto Uemura, Ryosuke Itoh, Longyin Xu, Masanori Nakayama, Hsiang-Yun Wu, Kazuho Watanabe, Shigeo Takahashi, Issei Fujishiro: “TimeTubes: Visualization of polarization variations in blazars,” Galaxies, Vol. 4, No. 3, Article No. 23, September 3, 2016 [doi:10.3390/galaxies4030023].
  10. 2015Takami Yamamoto, Masanori Nakayama, Rui Katsura, Akira Sakamoto, Issei Fujishiro: “Development of a pants pattern design system based on 3D human body measurement data,” IIEEJ Transactions on Image Electronics and Visual Computing, Vol. 3, No. 2, pp. 114–124, December 21, 2015.
  11. 2025中山雅紀，藤代一成：「PolySlerp：球面多角線形補間」，画像電子学会誌（VC特集），Vol. 54, No. 4, pp. 384–394，2025年10月．
  12. 2024山本高美，伊藤智行，五十嵐悠紀，中山雅紀，鄭姝，坂元章：「3D 人体計測データを基にした適応的なゆとり量の個別型身頃原型の開発」，日本繊維製品消費科学，Vol. 65, No. 7, pp. 490–499，2024年7月．
  13. 2022山本高美，中山雅紀，坂元章，藤代一成：「ボリューム処理に基づく個別型トルソーの開発と密着衣料デザインへの応用」（資料論文），画像電子学会誌，Vol. 51, No. 4, pp. 318–326，2022年10月．
  14. 2022吉良俊亮，中山雅紀，藤代一成：「種数0 サーフェスのヤコビアンフリーな変形シミュレーション」，芸術科学会論文誌，Vol. 21, No. 3, pp. 146–156，2022年9月30日．
  15. 2021中山雅紀，野村芽久美, 藤代一成：「LinDA：漫画向けの建造物の背景線画半自動生成」，芸術科学会論文誌（NICOGRAPH2021 Journal Track），Vol. 20, No. 4, pp. 210–218，2021年11月1日（NICOGRAPH 2021 最優秀論文賞）．
  16. 2017湯浅海貴，中山雅紀，藤代一成：「Swellart：制約付き膨張によるスケッチベースのデフォルメデザイン」，芸術科学会論文誌（NICOGRAPH2017 Journal Track），Vol. 16, No. 4, pp. 102–109，2017年11月10日（発表日：2017年11月11日）．
  17. 2015山本高美，中山雅紀，藤代一成，桂瑠以，坂元章：「3D 人体計測データ分析に基づくスカート原型デザインシステムの開発」，芸術科学会論文誌，Vol. 14, No. 1, pp. 9–19，2015年3月25日．
Full publications list ↗

In the media

  1. Newspaper
    The Buddhist cosmos, in CG — Masaki Nakayama, priest and CG artist in IchikawaOpen & zoom

    The Yomiuri Shimbun, Chiba edition — “Hito” column

    The Buddhist cosmos, in CG — Masaki Nakayama, priest and CG artist in Ichikawa

    At Paris Fashion Week in March 2024, a model walked the runway in a dress printed with a geometric mandala generated from the priest's own formulas — a collaboration with the Tokyo designer Hiroko Tokumine, who praised its fusion of mathematical thinking and art. The article traces his path from a junior-high programming class and a fascination with fractals, through meeting the CG pioneer Yoichiro Kawaguchi and a top student-CG award exhibited at the National Art Center, Tokyo, to succeeding his father as the 43rd chief priest in 2014. “A temple needs no mystique,” he says — Buddhism is remarkably logical, and science and Buddhism both train us to accept the world as it is.

    Print edition, 1 March 2026, p. 25 (article by Taro Yamato).

  2. Magazine
    Beyond attachment — Ankokuin, a temple that practises the Middle WayOpen & zoom

    Sanpo no Tatsujin, Jan. 2026 (No. 358), Kotsu Shimbunsha — feature: Ichikawa, Motoyawata, Koiwa

    Beyond attachment — Ankokuin, a temple that practises the Middle Way

    Near Konodai Station, the 700-year-old temple opened a gallery café two years ago and became a place open to the town. The magazine meets the man behind it: the 43rd chief priest, who is also a CG researcher and artist. He describes Buddhism as “a theoretical system that tells us to let go of attachment”, and the Middle Way as doubting our assumptions and choosing flexibly, without prejudice. The feature also shows the 100th hair memorial service, where hair artist Mieko Ueda styled a bonsai-like coiffure on the priest in front of the Recurrence Flowers folding screen, and notes the café, the temple's markets and its Recurrence Flowers goshuin stamp.

    pp. 20–21. Interview and text: Yasuko Shimosato; photographs: Naoto Takano. Republished online on san-tatsu.jp (17 Feb 2026).

  3. Magazine
    Hopes for an unconventional priest who preaches the Dharma through the mathematical beauty of CG artOpen & zoom

    Gekkan Jushoku (Monthly Chief Priest), Dec. 2025 (No. 325), Kohzansha

    Hopes for an unconventional priest who preaches the Dharma through the mathematical beauty of CG art

    A seven-page profile in the trade journal for Japanese temple priests. The priest explains the fractal mathematics behind Recurrence Flowers, the dress that drew attention at the Paris collections, and why CG research — the physics behind animated films and monster movies — matters. It follows his life: only son of the temple, a programming class at Keio's junior high school, research under Yoichiro Kawaguchi, and succession at 35. He came to see Buddhism as a rigorous theory of attachment and release. The article also covers Tachibana Gallery and the markets that opened the temple to its neighbours, the 100-year hair memorial service, and his warning against movements that feed attachment.

    pp. 78–84.

  4. Television

    TV Tokyo — “Kaiun! Nandemo Kanteidan”

    On-location appraisal: treasures obtained for free

    The priest appeared as a client with a pair of life-size hanging scrolls of the Edo-period giant sumo wrestlers Shakagatake Kumoemon and Ikitsuki Geitazaemon, given to the temple by the master of the Tamagaki stable three generations of priests ago. Billed as “the largest scrolls in the programme's history”, they amazed the studio; the appraiser judged them copies, but precious ones that convey the real size of two legendary giants.

  5. Newspaper
    Two swords at once: CG artist and chief priest — Masaki NakayamaOpen & zoom

    The Asahi Shimbun, Chiba edition — “Hito” column

    Two swords at once: CG artist and chief priest — Masaki Nakayama

    “A temple for a new age, not bound by today's stereotypes of Buddhism” — so the 43rd chief priest pictures Ankokuin's future. On the site of the former kindergarten he opened the café Tachibana Gallery two years ago, where visitors can linger among artworks, with regular markets and concerts. Captivated by fractals in a programming class at a Tokyo junior high school, he became a researcher, won top prizes at national contests, and last year a dress made with a fashion designer drew applause at Paris Fashion Week. Concerned for his ageing father, he decided to take on the family calling; his creed is “letting go of attachment”.

    Print edition, 24 June 2025 (article by Toshihiro Suzuki).

  6. Magazine
    Lolita × mathematics!? — an interview with CG artist Masaki NakayamaOpen & zoom

    Merveille Vol. 001 — Gothic, Lolita & Kawaii magazine (first issue)

    Lolita × mathematics!? — an interview with CG artist Masaki Nakayama

    In the first issue of the Lolita-fashion magazine — which also covers the Hiroko Tokumine Collection Show 2024 — the artist explains his stance: not a painter of inner images, but a “photographer” who makes the invisible universe of mathematics visible. Meeting 3D printing taught him the value of what can be touched, and he began carrying CG out of the screen; the dress is part of that. He fell for Hiroko Tokumine's signature Yamato Nadeshiko dress, and traces his own aesthetic to ballet costumes, glasswork and the shōjo manga of CLAMP and Naoko Takeuchi. Recurrence Flowers, he says, shows the Mandelbrot set in an entirely new form through his own algorithm — the work itself is only a fragment magnified ten thousand times.