In his fairy tales, Kenji sometimes introduces the nature to represent images in his mind or chooses the nature as a way of sketching imageries of the nature. Writing as a means of representing imageries stimulated by the nature is introduced inLily of Gadolph. The study approaches this fairy tale from the perspective of viewing it as an example of representing imageries stimulated by the nature and as an introduction to the religion where religious concepts are piled up along with the nature. Previous studies on Lily of Gadolphrange from love and broken hearts as experienced by an individual to religious concepts. This study, however, focuses on religious implications instead of love. The religious perspective adopted in this study differs from previous religious approaches in that it focuses on the hero Gadolph, the vague dog, the lily as the symbolism in the work, the space symbolized by the house, and the light as a natural phenomenon. By focusing on these elements, this study sheds light on and explicates the imageries concerned with sublimation of love into the growth of the writer’s personality and the imageries focused on religious growth. This study examines the correlation between Gadolph and the vague dog, the lily and the existence of a crafted lily, and analyzes their meanings and values as well as the process of growth. Kenji objectivizes himself levelheadedly by empathizing Gadolph, the vague dog, the honorable lily. The lily and the vague dog embody contrastive meanings. The space is divided into physical space and the mental space. By dividing the lily and the space into three, the author examines self-introspection and the growth of the religion in each step. Through the role of light as a natural phenomenon, the study regards Gadolph’s agonies and conflicts as the changes in religious consciousness and pays attention to spiritual growth.