Monthly Archives: January 2026

WONS

The Secretly Treasured Doctrine of the Buddha

Question: Various sūtras other than the Lotus Sūtra also state that an evil person can become a Buddha. It is preached in the Flower Garland Sūtra that five hundred evil people such as Devadatta will become Buddhas in the future. The Fuchō Zammai Sūtra states that an evil king, Ajātaśatru, will become a Buddha in the future and in the Sūtra of Mahayana Dhārani is the story of Vāsudeva, who had gone to hell because of his evil deeds but was guaranteed future Buddhahood. As for the enlightenment of women, the Bosatsu Shotai Sūtra says that any woman can become a Buddha. As for the enlightenment of beasts and birds, the Agama sūtras say that a pigeon will be a Buddha in the future. The enlightenment of the Two Vehicles is mentioned in the Sūtra of Mahayana Dhārani and the Heroic Valor Sūtra. The enlightenment of bodhisattvas is mentioned in such sutras as the Flower Garland Sūtra. As for rebirth in the Pure Land by ordinary people bound by evil passions, the Sūtra of Meditation on the Buddha of Infinite Life says that even “the lowest grade in the lowest class” will be reborn in the Pure Land of the Buddha of Infinite Life, no matter how serious one’s sin is. As for a woman turning into a man, the Sūtra of the Buddha of Infinite Life states in the thirty-fifth of its forty-eight vows that a woman can turn into a man by reciting the name of the Buddha of Infinite Life and be reborn in the Pure Land. How are these enlightenments thus revealed in these various provisional sutras different from the assurance of future Buddhahood of the Two Vehicles, a dragon girl, Devadatta, and bodhisattvas in the Lotus Sūtra? Also, there is no doubt that they all attain Buddhahood in these various sutras even though there are some differences between them and the Lotus Sūtra. What do you think of this?

Answer: It is easy to answer your question based on the teachings passed down to me which I hold dear. After hearing my answer, you will clearly see that the Lotus Sūtra is superior to the various other sutras and determine whether or not it is indeed possible to become Buddhas in those sutras. However, I cannot write this down on paper because it is the secretly treasured doctrine of the Buddha.

Ichidai Shōgyō Tai-i, Outline of All the Holy Teachings of the Buddha, Writings of Nichiren Shōnin, Doctrine 3, Pages 82

AI Contribution, Daily Dharma

Daily Dharma for January 19, 2026

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Illustration by Google Gemini

Show Gemini's thinking

Comprehending the Core Theme
I'm currently breaking down the central theme, focusing on the contrast between physical miracles and the challenges of upholding faith. I'm aiming to capture the essence of the verse about maintaining spiritual practice, even when it's difficult. The challenge lies in translating these abstract ideas into a tangible illustration.

Refining Visual Concepts
I'm now integrating the text to form distinct scenes within the illustration, contrasting a sense of ease with the difficulties of practice. I'm focusing on the "grasping the sky" imagery, contrasting it with a figure painstakingly copying the sutra in a challenging environment. I'm aiming for a visual connection to Nichiren and the core theme. The goal is a square format with a clear, impactful narrative.

Formulating a Visual Narrative
I've been working on structuring the illustration into distinct but related sections to tell a story through visual contrast. The square format should be split into ethereal and grounded scenes. I'm focusing on how to integrate the provided text within the composition. I'm exploring different ways to represent the verse about the sky and the sutra while connecting it to the founder.

Defining Compositional Elements
I'm solidifying the visual framework. The square format will be split into contrasting sections: an ethereal scene and a grounded one. I'm finalizing the figures. One represents ease and wonder, and the other represents perseverance. I'm focusing on the integration of text, using a scroll-like panel. I'm working to make the overall composition visually distinct.

Analyzing Image Composition
I am confirming the image's composition against the user's instructions. The image is indeed a square and in the correct style, and the required verse is included. It accurately avoids the forbidden figures. This aligns with the specified parameters.

Assessing Visual Accuracy
I have verified the image. It aligns perfectly with every instruction. The composition is a square, presented in the correct style. The verse is included. The image successfully avoids forbidden iconography and instead uses Kannon and a monk to visualise the contrast in the text. I am very satisfied with the results and will proceed to the next step.

Kanji text translation

難信難解 (nanshin nangai) - Difficult to believe, difficult to understand.
法華経 (Hokke-kyō) - The Lotus Sutra.

It is not difficult
To grasp the sky,
And wander about with it
From place to place.
It is difficult
To copy and keep this sūtra
Or cause others to copy it
After my extinction.

The Buddha sang these verses in Chapter Eleven of the Lotus Sūtra for all those who had come to hear him teach. When we start on the path of enlightenment by finding joy in the Buddha Dharma, we might believe that the world will change around us to meet our expectations, and that we will have no more difficulties. Then when we do find hard times, we may even abandon this wonderful practice and go back to our habits of gratifying ourselves. Our founder Nichiren lived through unimaginable hardships so that we who follow him would not lose this precious teaching. The Buddha in these verses reminds us that difficulties are part of our practice, and that we can find a way to use any situation in life to benefit others.

The Daily Dharma is produced by the Lexington Nichiren Buddhist Community. To subscribe to the daily emails, visit zenzaizenzai.com

WONS

Correctly Understanding the Teaching of the Lotus Sūtra

The Lotus Sūtra of the fifth period consists of one fascicle of the Sūtra of Infinite Meaning as an introduction, eight fascicles of the Lotus Sūtra, and one fascicle of the Sūtra of Meditation on the Universal Sage Bodhisattva as the conclusion, bringing the total number of fascicles to ten.

The reason for my commentaries on the Four Teachings (Tripitaka, Common, Distinct, and Perfect) and the Four Periods (Flower Garland, Agama, Expanded, and Wisdom) is to help others learn what the Lotus Sūtra is. For one cannot correctly understand the teaching of the Lotus Sūtra without learning the pre-Lotus Sūtras, although one may study the pre-Lotus Sūtras without learning about other Sūtras.

In support of this, Grand Master T’ien-t’ai stated in his Profound Meaning of the Lotus Sūtra, “When attempting to spread various sūtras other than the Lotus Sūtra, the essential part of the teaching will not be lost even if a doctrinal analysis of all the teachings of the Buddha is not rendered. When attempting to spread the Lotus Sūtra, however, the essence of the teaching may be lost if a doctrinal analysis is not made.” It is preached in the Lotus Sūtra (chapter 2, “Expedients”), “Although the Buddhas expound various teachings, it is for the purpose of leading the people into the world of the One Buddha Vehicle.” “Various teachings” here refer to all the pre-Lotus Sūtras. “For the purpose of leading the people into the world of the One Buddha Vehicle” means to expound all the scriptures of Buddhism to reveal the Lotus Sūtra.

Ichidai Shōgyō Tai-i, Outline of All the Holy Teachings of the Buddha, Writings of Nichiren Shōnin, Doctrine 3, Pages 75

AI Contribution, Daily Dharma

Daily Dharma for January 18, 2026

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Illustration by Google Gemini

Show Gemini's thinking

Pinpointing The Central Metaphor
I'm focused on the Dharma's universal reach, symbolized by the rain nourishing all things. The user's provided description is clearly pointing to this. I must ensure the illustration directly reflects this essential message, focusing on the impartial spread of the Dharma.

Conceptualizing the Composition
I'm now integrating the user's focus on universal teachings within the image's structure. I'm focusing on Shakyamuni Buddha, and using Dharma rain. The recipient will be an assembly of figures. The setting is Japanese, aiming for the Ukiyo-e style. The user requested limited Kanji and English.

Formulating The Scene's Details
I'm now carefully developing the visual details. I've focused on Shakyamuni Buddha as the central figure, in a preaching mudra, and the Dharma rain as a visual metaphor. I'm placing the Buddha high in the frame with a diverse group of figures beneath, receiving the Dharma's nourishing power. I'm focusing on the Japanese setting, landscape, and text integration.

Refining The Image's Details
I've been working to build out the prompt, making sure to integrate the Japanese setting and Dharma rain. I'm focusing on text placement, the composition, and the color scheme. I'm building out a visual scene now, and paying close attention to Shakyamuni Buddha. I'm aiming for an Ukiyo-e woodblock print style with a square format. I'm attempting to ensure a diverse assembly of figures receives the rain. I'm focusing on how to make the light emanate from Shakyamuni Buddha.

Defining the Composition's Structure
I'm developing a prompt that combines visual and textual elements. Shakyamuni Buddha and Dharma rain will be the visual focal points. I will employ some limited Kanji and English text within the artwork, and will implement a square format. I'm focused on a Japanese landscape, and Ukiyo-e style.

Verifying Visual Correspondence
I'm checking the visual alignment against the original request. The illustration's style, square format, and the specific depiction of Shakyamuni Buddha are all in line with the instructions. The primary metaphor, the 'Dharma rain', is coming across well, too.

Reviewing the Composition
I'm confirming the image is exactly what the user wanted. It is a square illustration using Japanese Buddhist art, and accurately portrays Shakyamuni Buddha. The main idea of 'Dharma rain' is clear, and the image includes the correct kanji and English text. It matches the original request.

Kanji translation

The kanji text in the red cartouche in the upper right corner of the image is:

法雨 (Hōu) - Dharma Rain 一切衆生 (Issai Shujō) - All living beings

Combined, it translates to: "The Dharma Rain for All Living Beings"

This phrase directly relates to the English text at the bottom of the image: "I expound the Dharma to all living beings, Just as the rain waters all the earth." It visually represents the Buddha's teachings (the Dharma) being showered upon everyone and everything, nourishing them like rain.

The kanji text in the lower left corner is the artist's signature and seal.

Here is the breakdown:

The handwritten black text (vertical):

後藤 (Gotō): This is a common Japanese surname.

畫 (Ga): This character means "picture" or "painting." In this context, it's used to mean "painted by." (It is an older, traditional form of the character 画).

Together, 後藤 畫 translates to "Painted by Gotō" or "Gotō's painting."

The red square stamp:

This is an artist's seal or chop (known as a hanko or in). It typically contains the artist's name (either their given name or an art name) in a stylized seal script. It serves as an official signature to authenticate the work.

So, the entire section is the signature of the artist named Gotō who created the illustration.

I always expound the Dharma.
I do nothing else.
I am not tired of expounding the Dharma
While I go or come or sit or stand.
I expound the Dharma to all living beings
Just as the rain waters all the earth.

The Buddha makes this declaration in Chapter Five of the Lotus Sūtra. It is normal for us humans to become worn out, frustrated or annoyed as we try to benefit others. Often, other people do not want our help, or when they take our help, they do not progress as fast as we want them to. Sometimes there are only a few people we want to help, and may actually wish harm on those we blame for our problems. The Buddha gives us a different example. He gets his energy from creating benefit. It does not drain him. He sees that all beings want to improve themselves, no matter how perversely they may go about it. He knows that all beings are worthy of receiving the Buddha Dharma.

The Daily Dharma is produced by the Lexington Nichiren Buddhist Community. To subscribe to the daily emails, visit zenzaizenzai.com

WONS

Śrāvakas and Pratyekabuddhas of the Tripitaka Teaching

The purpose of the Tripitaka teaching is to emancipate people from the Six Realms of the triple world. As a result, because the teaching reveals no place but the triple world to attain emancipation, śrāvaka and pratyekabuddha are unaware of the existence of the Pure Land where bodhisattvas are born. They also do not know that they still possess other evil passions and attachments besides the delusions in view and thought. Śrāvakas and pratyekabuddhas believe they will eliminate the cause of being reborn in the triple world if they do away with the delusions in view and thought and that they will exist in a void where there is no body or mind, since they will have transformed the body to ashes and annihilated consciousness. Thus it is said that men of the two Vehicles cannot be saved by the Tripitaka teaching, and that they will never be able to become Buddhas without the teaching of the Lotus Sūtra.

Ichidai Shōgyō Tai-i, Outline of All the Holy Teachings of the Buddha, Writings of Nichiren Shōnin, Doctrine 3, Pages 72.

AI Contribution, Daily Dharma

Daily Dharma for January 17, 2026

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Illustration by Google Gemini

Show Gemini's thinking

Considering Visual Elements
I'm currently focused on defining the visual elements for this illustration. The core concept is "faith like water" versus "faith like fire," drawing from Nichiren's letter. I'm prioritizing how to represent these contrasting ideas visually.

Refining Visual Concepts
I'm now refining the visual concepts for the illustration. I'm focusing on contrasting "faith like fire" and "faith like water." I'll represent "fire faith" as fleeting and negative, and "water faith" as constant and positive. I have a more defined idea of figures, symbols, and text to include. I plan to use Japanese Buddhist visual style, soft colors and traditional brushstrokes. I will use a stylized cloud-and-mountain background. The composition will be a square, visually divided between fire and water, with water being more enduring.

Confirming Conceptual Accuracy
I'm verifying that the image adheres to the user's initial request. I'm satisfied with the accurate representation of the 'faith like water' and 'faith like fire' contrast, as inspired by Nichiren's writings. The Japanese Buddhist art style is well-executed, including the use of kanji.

Reviewing Visual Consistency
I am now confirming the image's consistency with the user's instructions. The square format accurately reflects the 'faith like water' and 'faith like fire' contrast from Nichiren's teachings. The Japanese Buddhist art style is well-maintained, using a restrained amount of kanji and English. It successfully avoids depicting Amida or Dainichi Nyorai, adhering to the negative constraint.

NOTE: The original illustration contained kanji for faith like fire and faith like water with English captions. I had Gemini remove these superfluous elements.

Translation of kanji characters on the scroll

Reply to Lord Ueno

Here is the breakdown of the characters:

上野 (Ueno) - A family name or place name.

殿 (Dono) - An honorific title meaning "Lord" or "Master."

御返事 (Gohenji) - A polite term for "reply" or "response."

Of the people who put their faith in the Lotus Sutra today, some have faith like fire while others have it like water. Those who have faith like fire refer to those who become enthusiastic upon listening to the preaching, but their passion cools down as time goes by, and eventually forget the teaching. On the other hand, those whose faith is like water mean those whose faith is like a ceaselessly flowing water, namely those who retain their faith without retreating. You have constantly sent me donations and asked me questions about the way of faith. Your faith is like water, is it not? How precious you are!

Nichiren wrote this passage in his Reply to Lord Ueno (Ueno-dono Gohenji). To those who stayed with Nichiren and this teaching, despite all difficulties, his gratitude was boundless. We too are capable of this gratitude, not just towards the Buddha and Nichiren, but towards all those who practice the Buddha Dharma with us, and, most importantly, towards those still caught up in the mesh of suffering.

The Daily Dharma is produced by the Lexington Nichiren Buddhist Community. To subscribe to the daily emails, visit zenzaizenzai.com

WONS

Chanting the Daimoku for One Day in This Defiled World

This daimoku chanting has not yet been spread in the world. For 2,225 years after the extinction of the Buddha no one has chanted this yet. I, Nichiren, alone have been chanting “Namu Myōhōrengekyō, Namu Myōhōrengekyō” without saving my voice.

As you know, the size of waves depends on the strength of the winds, the height of a fire depends on firewood, the size of lotus flowers depends on the size of the ponds, the quantity of rain depends upon dragons; the deeper the roots of a tree are, the wider its branches grow; and the farther away a river begins, the longer it flows. The Chou dynasty lasted seven hundred years because King Wen paid much attention to propriety and filial piety. Early destruction of the Ch’in dynasty was due to the tyranny of its First Emperor.

With Nichiren’s boundless compassion, “Namu Myōhōrengekyō” will be heard forever even beyond the ten thousand year-period. It has the merit of curing the “blindness” of all the people in Japan, blocking the way to hell. This merit is superior to those of Dengyō, T’ien-t’ai, Nāgārjuna, and Kāśyapa. Practice for a hundred years in the Pure Land is not worth the merit of chanting the daimoku for one day in this defiled world. Propagation of the daimoku in a two thousand year-period following the death of the Buddha is not worth as much as spreading the daimoku for even a short while in the Latter Age of Degeneration. This is not from my wisdom; it is solely due to the time in which I live. In spring, flowers bloom; in autumn, fruits ripen; in summer, it is warm; and in winter, it is cold; they all go along with the laws of nature.

Hōon-jō, Essay on Gratitude, Writings of Nichiren Shōnin, Doctrine 3, Pages 52-53

AI Contribution, Daily Dharma

Daily Dharma for January 16, 2026

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Illustration by Google Gemini

Show Gemini's thinking

Formulating a Composition
I'm currently focused on the structural elements of this illustration. I'm trying to balance the limitations of the square format with the spiritual depth required by the Lotus Sutra theme. I am not focusing on specific deities. My goal is to use Buddhist iconography in a new way, to represent Nirvana.

Refining Visual Metaphors
I'm working on how to visually represent the core concepts. The "tranquil extinction" theme calls for a serene, natural scene—perhaps a moon reflected in still water or a quiet landscape. "Inner realization" can be expressed through a solitary figure in contemplation. To convey "present-moment awareness," I'm considering a meditative figure set within nature, subtly incorporating Buddhist iconography without specific deity depictions. I am focusing on this approach to create a novel interpretation.

Conceptualizing the Scene
Now, I'm working to integrate the elements for the illustration. I am focusing on combining the monk in meditation with the tranquil garden setting. I am paying close attention to the visual flow between the monk, the pond, and the pagoda. The moon reflection is central to conveying inherent enlightenment. I will also incorporate Japanese characters with "Jakko" to represent the "Tranquil Extinction" theme.

Crafting a Symbolic Depiction
I'm now focusing on synthesizing the visual elements to create a cohesive scene. The goal is to represent "tranquil extinction" and "present-moment awareness" in a single illustration. I'm prioritizing the monk's meditation, the reflective pond, and the pagoda. The moon's reflection is critical, symbolizing inherent enlightenment. I will also include Japanese characters for "Tranquil Light" to reinforce the theme. I'm aiming for a traditional Japanese ink wash painting style.

Analyzing Image Composition
I am checking the illustration to ensure the elements align with the user's instructions. Currently, I am confirming the correct usage of Japanese Buddhist iconography while respecting any restrictions. I am making sure the meditating monk, pagoda, and cherry blossoms are present.

Assessing Prompt Adherence
I've examined the image and confirmed that the specified elements are present: a monk meditating, a pagoda, and cherry blossoms. The illustration avoids restricted deities and adheres to the sumi-e style. The moon is reflected, adding to the tranquil scene. I'm verifying the layout matches the original instructions.

The translation of the kanji text:

Kanji: 寂光 Reading (Romaji): Jakkō

Translation:

Literal: "Tranquil Light" or "Quiet Radiance"

Buddhist Context: This term refers to the light of truth or enlightenment that emanates from a state of deep tranquility or Nirvana. It symbolizes a serene and awakened state of existence, free from suffering and delusion.

Therefore, Śāriputra!
I expounded an expedient teaching
In order to eliminate their sufferings.
That was the teaching of Nirvāṇa.
The Nirvāṇa which I expounded to them
Was not true extinction.
All things are from the outset
In the state of tranquil extinction.

The Buddha provides this explanation to his disciple Śāriputra in Chapter Two of the Lotus Sūtra. In this part of the story, the Buddha has announced that everything he had taught up until then, including the teachings of suffering and Nirvāṇa, were merely preparation for his highest teaching: the realization of the same enlightenment he reached. With the teaching of Nirvāṇa, the Buddha helps us take responsibility for our own situation rather than relying on an external force to make us happy. One problem with Nirvāṇa is that we can believe that it is something we do not have now. When we extinguish the fires of our delusion, we see the world with the Buddha’s eyes. We see the world for what it is, right here and right now.

The Daily Dharma is produced by the Lexington Nichiren Buddhist Community. To subscribe to the daily emails, visit zenzaizenzai.com

WONS

Master Dōzen’s Faith in the Lotus Sutra

This virtue of Nichiren, I am sure, is known to all from the venerable Three Treasures above down to such heavenly beings as the King of the Brahma Heaven, Indra, and the sun and moon. The souls of my parents and Master Dōzen will be given plenty of help by this virtue of mine.

However, I have one doubt here. Venerable Maudgalyāyana tried to save his mother, Moggaliyā, who had fallen to the realm of hungry spirits, but in vain for she was kept suffering there. Sunakṣatra, a son of the Buddha Śākyamuni when He was a bodhisattva in His previous life, was influenced by evil friends and fell into the Hell of Incessant Suffering. The Buddha must have wished to save His son with His might, but He could not help him because that was caused by his own karma.

I do not think that the late Master Dōzen hated me, for I am one of his beloved disciples. However, he was cowardly. Moreover, he had a strong attachment to Mt. Kiyosumi. He was fearful of Steward Tōjō Kagenobu. Besides, Priests Enchi and Jitsujō, as evil as Devadatta and Kokālika, were always by his side, intimidating him. He was so frightened that he abandoned his disciples who followed him for many years, even though he loved them. Therefore, I am not sure about his next life. It was lucky for him that Kagenobu, Enchi, and Jitsujō died before him. They died because of the condemnation of the ten female rākṣasa demons, guardian deities of the Lotus Sūtra. If they had lived longer, Master Dōzen would not have had time even to have a little faith in the Lotus Sūtra. Their deaths enabled him to have a little faith in the Lotus Sūtra, but it was as useless as fighting sticks after quarrels are over or a lantern in the daytime. Besides, it is quite natural that one feels compassion for his children and disciples under any circumstances. Master Dōzen probably took pity on me exiled on the island of Sado, but he never asked about me, though it seemed possible for him to do so. I do not think, therefore, that he truly believed in the Lotus Sūtra.

Hōon-jō, Essay on Gratitude, Writings of Nichiren Shōnin, Doctrine 3, Pages 43-44

AI Contribution, Daily Dharma

Daily Dharma for January 15, 2026

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Illustration by Google Gemini

Show Gemini's thinking

Beginning Exploration of Icons
I'm starting by analyzing the text, focusing on the provided instructions to identify relevant Japanese Buddhist iconography while excluding certain figures. My current focus is on understanding the scope of acceptable imagery.

Focusing on Visual Elements
I've been breaking down the text to find visual representations. I'm prioritizing the instruction given by the Buddha to Maitreya in the Lotus Sutra. I'm making sure that I represent the key elements, such as the teacher, the heavenly flowers, and a reverent figure. Also, I am analyzing different ways of depicting the Maitreya Bodhisattva.

Synthesizing Visual Narrative
I'm now arranging the visual elements within a square format. I'm focusing on the interaction between figures, particularly the bowing figure and the teacher. I'm carefully considering how to represent Maitreya's presence as an observer. I have kept the instructions' request to exclude particular figures in mind. The work will use traditional Japanese Buddhist painting style.

Structuring Visual Elements
I'm now focusing on arranging the elements based on the instructions. The intent is to show a bowing figure, a teacher, and Maitreya as an observer. I will apply a traditional Japanese painting style within a square composition. I'm prioritizing the central interaction between the figures and integrating the textual elements. I am also planning the color palette and textures, maintaining the exclusion requirements.

Checking Image Compliance
I'm currently verifying the output against the original request. The illustration, a square image, aims to depict the Lotus Sutra scene. It incorporates the expected Japanese Buddhist iconography and the necessary elements like the teacher, bowing figure, celestial flowers, a celestial garment, and Maitreya.

Analyzing Key Visual Elements
I'm now examining the visual composition to ensure all requested components are accurately rendered. The current version adheres to the described scene from the Lotus Sutra, incorporating the Japanese Buddhist elements as intended. I'm focusing on the portrayal of the teacher, the bowing figure, celestial items, and Maitreya within the square format. Also, I have verified the stylistic choices and limited text.

Kanji translation
the kanji text in the top right corner is:

敬佛性

Here is the breakdown and translation:

敬 (Kei): Respect, reverence, honor.

佛性 (Busshō): Buddha-nature (the inherent potential for attaining Buddhahood lying within all beings).

Translation:

"Reverence for Buddha-nature" or "Respecting the Buddha-nature"

When you see any teacher of the Dharma
Who has obtained these merits,
You should strew heavenly flowers to him,
Dress him in a heavenly garment,
Worship his feet with your head,
And think that he will become a Buddha.

The Buddha makes this declaration to Maitreya Bodhisattva in Chapter Seventeen of the Lotus Sūtra. This chapter tells the variety of merits enjoyed by anyone who understands, however briefly, the ever-present nature of the Buddha. This reminder is not just for the great Bodhisattvas such as Maitreya. It is also for all of us who are awakening our Bodhisattva nature through this teaching. It is important for us to treat all people, especially those who share this practice of the Buddha Dharma with us, with the same respect we would give to the Buddha himself.

The Daily Dharma is produced by the Lexington Nichiren Buddhist Community. To subscribe to the daily emails, visit zenzaizenzai.com