 Not only can one discern his early interest in the importance of nothingness in his thinking, but there is also indication that he was sensitive to the non-dual immediacy of experience, which Nishida described as pure experience  (see Section 2.1 of the entry on  Nishida Kitarō.  As though discovering the roots of Nishida’s pure experience, he writes that “the ancient poets, whose feelings still retain a virgin simplicity as a single undivided experience, are not yet troubled by this division of the subjective and the objective” (as found in Japan’s oldest collection of poems, the Man’yōshū) (Furukawa 1961, 224). Natural beauty, for the poet, is as yet an undivided experience, a pure experience which is prior to the subject/object dichotomy, a total immersion in the moment without thought or reflection, in an ecstasy of feeling. In his Preface to Revival of Idols he warns that he intends not “a mere ‘revival of the old,’” but rather what he wished to achieve “is nothing more or nothing less than to advance such life as lives in the everlasting New” (Furukawa 1961, 227). To revive the old, then, is to cause it to shine anew, but in the light of contemporary issues and concerns. It is to revive its meaning for us, here and now, and not merely to show that it had meaning in the past. As part of one’s cultural climate, the past inevitably operates still in the present of every Japanese. It was this still active element that Watsuji sought to uncover, and to express in such a way as to allow others to share in the present infused with the past in the consciousness of their own lives, rather than in some unconscious and only partially developed way. Similarly, he attempted to reveal the relevance of primitive Christianity, primitive Buddhism, and Confucianism as cultural inheritances which continue to shape people in various ‘climates’ around the world. He made explicit what was implicit, and he sought to revitalize the active ingredients of cultural traditions for right ‘now’. 