Mori imposes herself on the floating deity, and the four figures are engulfed in flame. The four-armed bodhisattva hovers in a rainbow nimbus with her back two hands in the air, the right holding a rose, and the left holding a Buddhist rosary (Fig. 12). A bodhisattva is an important Buddhist deity that Mori frequently appropriates.^[62] This figure is most likely a representation of Avalokiteshvara, the Bodhisattva of Infinite Compassion, as seen in a metal sculpture of Avalokiteshvara from 18^th-century China (Fig. 13). In this sculpture, the figure holds the same objects as Mori, seated cross-legged with their front two hands in a similar mudra. In “Burning Desire,” Mori holds the same objects, and her thumb and pointer finger on each hand come together to mimic the vitarka mudra, a hand symbol in Buddhism that is used to signify discussion, teaching, and intellectual argument. The circle that is created by the joining of the fingers represents the wheel of law or dharma.[63] Her front two arms come together to create what looks like the Namaskara or Anjali mudra. This mudra is the gesture of greeting, prayer, and adoration rarely seen in images of enlightened Buddhas but more common in Bodhisattvas who are preparing to attain enlightenment.[64] This is an important factor in judging whether Mori’s creations allude to real Buddhist tradition because as a stage in her Esoteric Cosmos with “Pure Land” representing Nirvana, this placement is right where it should be on Mori’s journey to enlightenment. Mori is dressed in a traditional Indian costume, according to scholar Jungwhe Moon. However, once we zoom into the details of this image, we can see that the artist embellished this costume and character.[65] For example, Mori’s green hairdo is tied up into a tight bun with tresses of pink ribbon that fall on both sides of her face, almost as an extension of her hair. However, Avalokiteshvara commonly had dark blue hair tied in this exact way, as seen in an image of a bronze sculpture from 20^th-century Bhutan (Fig. 14).[66] Tara is a female deity of Compassion and the female counterpart of the bodhisattva, whose Avalokiteshvara, who’s whole body is generally green in many representations. Tara is the protectress of navigation and earthly travel, as well as spiritual travel to enlightenment, making her an obvious choice by Mori, who’s creating a series on the journey to enlightenment.[67] Bodhisattvas have a physical form of a female among its many forms, Tara being one of them. The gender of bodhisattvas are often hard to distinguish, but Mori is clearly playing the role of a female deity.[68] There are countless details throughout Mori’s Esoteric Cosmos that do share similarities with esoteric Buddhist visual culture, but Mori continues to blend authentic religious tradition with her own creative touch to make it seem not completely unapproachable. You can find something familiar in her recreations of ancient religious tradition, for example, in the recognizable desert setting of “Burning Desire” or “Entropy of Love,” or in Mori’s soft features that the viewer can connect with. This familiarity creates a shared experience between the viewer and the artist.