The Japanese composer Akira Nishimura (1953-) developed his musical language by synthesizing Pan-Asian traditional music, such as Oriental mode and melisma, Balinese rhythm, and Japanese and Korean court music, superimposing or juxtaposing them "heterophonically." Other than these Asian elements learning from the ethnomusicologist Fumio Koizumi, the musical ideas and sound conceptions of many contemporary composers, like Tôru Takemitsu, Teizô Matsumura, Isang Yun and Iannis Xenakis, also inspired him to amalgamate these Asian resources into his music. After analyzing the multiple Asian elements, whether physical or spiritual, auditory or visual, sacred or secular, elaborated in Nishimura's works, such as Heterophony for String Quartet (1975-1987), Ketiak (1979), Gaka I-IV (1987-88), Fugaku (1990), as well as Karura (2000) and Avatara (2001), we try to discover how Nishimura established his self-identification using the fantastic Asian imaginations, or so-called, "trans-self cosmic consciousness," as defined by the composer himself.