This supporting paper presents an analysis on the compositional technique and characteristics of Toru Takemitsu's "Distance de Fée" in comparison with Messiaen's "Theme and Variations" in order to observe the inherited similarities and differences between the two composers, and suggestions for interpretation and performance are given whenever the author thinks appropriate. The author briefly introduces the life, the compositional periods, and the musical styles of Messiaen and Takemitsu respectively, and conducts analysis based on "temporal" and "color" concepts. Analysis based on temporal (rhythmic) concept particularly emphasizes on both the rhythmic structure and the sense of ‘time’, as well as the use of polyrhythms. Both incorporate multi-modes and polyrhythms into their work. Analysis on color (harmony) is focused on how Messiaen's "synaesthesia" (Synästhesie) renders his composition a rich spectrum of colors, and how Takemitsu inherited this sense of coloration. Messiaen's use of "les modes à transpositions limitées" is reminiscent of Takemitsu's techniques in the use of tone-row (e.g. motivic tone-row and diatonic scales); Messiaen's "groupe-pédale" may correspond to Takemitsu's common use of homophonic tone-row across multiple sections. In terms of the harmonic structure, both of them made extensive use of broken chords of triads and tetrad chords, while the voice leading between harmonies exhibits parallel chord movements or chromatic progressions. By addressing both the characteristic rhythmic and harmonic structure, the author manages to trace the influence, inheritance and re-creation of Japanese composer Toru Takemitsu for whom Messiaen's music is count as one of the most influential.