Monthly Archives: January 2026

WONS

Being Like Never-Despising Bodhisattva

Nevertheless, if there is a man after the death of the Buddha who breaks the attachment to the false doctrines of the “four tastes and three teachings” of the pre-Lotus sūtras and puts faith in the True Dharma of the Lotus Sūtra, all the virtuous gods and numerous bodhisattvas who sprang up from underground will protect such a practicer of the Lotus Sūtra. Under such protection, this practicer would be able to spread over the world the honzon revealed in the essential section and the five-word daimoku of “myō, hō, ren, ge, and kyō,” the essence of the Lotus Sūtra.

He is just like Never-Despising Bodhisattva, who in the Age of the Semblance Dharma after the death of Powerful Voice King Buddha spread in the land of this Buddha the twenty-four character passage in the Lotus Sūtra (chapter twenty) saying: “I respect you deeply. I do not despise you. Why is it? It is because you all will practice the way of bodhisattvas and will be able to attain Buddhahood.” With such propagation, the Bodhisattva was severely persecuted by all the people in the land, who beat him with sticks and threw stones at him.

Kembustsu Mirai-ki, Testimony to the Prediction of the Buddha, Writings of Nichiren Shōnin, Doctrine 2, Page 171

AI Contribution, Daily Dharma

Daily Dharma for January 10, 2026

20260110-ddi

Illustration by Google Gemini

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Beginning Illustration Design

I'm starting to build a plan for the illustration. The core requirement is a square format with Japanese Buddhist imagery, but with those two specific figures excluded. I'm focusing now on identifying appropriate, permissible subjects from the provided text, and I'll need to decide on the best composition.

Formulating Composition Ideas

I'm now diving into the specifics of the composition. I'm focusing on incorporating permissible figures, and the central theme of shifted perception from the provided text. The traditional Japanese art styles of sumi-e and ukiyo-e are very appropriate for this particular work. I'm prioritizing how to illustrate this central concept.

Exploring Visual Representations

I've been analyzing the provided text and am developing ideas for visual elements. I'm prioritizing the style of the illustration, considering traditional Japanese ink wash and woodblock printing techniques as fitting options. The key figures are Shaka Nyorai and Taho Nyorai, along with "Buddhas of my replicas," which I'll represent as smaller glowing figures. I'm focusing on the overall atmosphere, ensuring that elements like the jeweled stupa and lotus flowers are incorporated.

Developing Visual Composition

I'm now prioritizing the scene's composition, focusing on a square format with a Japanese woodblock print style and earthy colors. Key elements will include a figure holding a scroll, a jeweled stupa with Shaka Nyorai and Taho Nyorai, and smaller glowing Buddha figures in the background. I'm aiming for a visual representation of shifting perspective. I am also working on the quote placement.

Prioritizing Visual Elements

I'm now prioritizing the visual components for the illustration, ensuring they align with the requirements. The focus is on traditional Japanese iconography, like the jeweled stupa and lotus flowers, and I need to determine how best to represent the "Buddhas of my replicas." The scene's overall composition will emphasize the theme of shifted perception. I'm focusing on text placement in the design.

Assessing Image Alignment

I'm currently verifying the image against the user's requirements. It's a square illustration and the subject matter depicted is Shaka Nyorai and Taho Nyorai in a jeweled stupa. The style is consistent with a Japanese Buddhist woodblock print.

Confirming Iconography Accuracy

I've checked the image against the user's instructions. The square image's style aligns with a Japanese Buddhist woodblock print. The subject matter comprises Shaka Nyorai, Taho Nyorai, and the stupa. The text, including the Kanji, is properly accounted for and limited, and the overall composition addresses the theme of a shifted perspective.

Anyone who expounds this sūtra
Will be able to see me,
To see Many-Treasures Tathāgata,
And to see the Buddhas of my replicas.

The Buddha sings these verses in Chapter Eleven of the Lotus Sūtra. We can hear this teaching with an aspiration to see visions of Śākyamuni Buddha and other Buddhas. But we can also hear the Buddha’s promise that when we keep in mind his assurance that we and all beings have the capacity for enlightenment, we will see the world differently. We will start to interpret the actions of ourselves and others in a new light. We will see many more beings who are helping us to become enlightened, rather than beings who are frustrating our efforts at pursuing our selfish goals.

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

WONS

This Jewel with the Five Characters of Myō, Hō, Ren, Ge, and Kyō

For those who are incapable of understanding the truth of the “3,000 existences contained in one thought,” Lord Śākyamuni Buddha, with His great compassion, wraps this jewel with the five characters of myō, hō, ren, ge, and kyō and hangs it around the neck of the ignorant in the Latter Age of Degeneration. The four great bodhisattvas will protect such people, just as T’ai-kung-wang and the Duke of Chou assisted the young ruler, King Chen, of the Chou dynasty, or the Four Elders of the Shang-shan attended child Emperor Hui of the Han dynasty in ancient China.

Kanjin Honzon-shō, A Treatise Revealing the Spiritual Contemplation and the Most Venerable One, Writings of Nichiren Shōnin, Doctrine 2, Page 162

 

AI Contribution, Daily Dharma

Daily Dharma for January 9, 2026

20260109-ddi

Illustration by Google Gemini

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Focusing Key Figures
I'm currently working on identifying the critical figures within the Lotus Sūtra passage: the Buddha, Shakyamuni, and the Great-Power-Obtainer Bodhisattva, also known as Mahasthamaprapta. This is the first step in creating the illustration.

Refining Composition and Details
I've been working on refining the composition for the illustration, and I am zeroing in on the specifics for each figure. Shakyamuni will be centered, in a teaching mudra on a lotus throne, with a golden aura. The Great-Power-Obtainer Bodhisattva will be positioned to his right in a reverent pose, possibly holding a lotus, and I'm still figuring out how to best integrate a symbolic representation of the Lotus Sutra itself. I'm aiming for a square format with atmospheric elements, such as clouds and light rays to convey the transcendental aspect.

Establishing the Composition
I am now focusing on the visual composition of the illustration. Shakyamuni Buddha will be centered, seated on a lotus throne, with a golden aura. The Great-Power-Obtainer Bodhisattva will be to his right, in a reverent posture. I am considering symbolic representations of the Lotus Sutra, such as a glowing scroll or jeweled stupa, to integrate into the scene. I intend to use atmospheric elements, like clouds and light rays, in a square format to convey the transcendental aspects of the text. I will include the Kanji for "Lotus Sūtra" and "Anuttara-samyak-saṃbodhi". The color scheme will use deep blues, greens, reds and gold for an antique feel.

Checking Visual Fidelity
I'm currently verifying the visual fidelity of the illustration against the user's request. The illustration does capture the prompt's main components. Shakyamuni Buddha and Great-Power-Obtainer Bodhisattva are accurately depicted. The central teachings of the Lotus Sutra are symbolized in the design.

Confirming Symbolic Accuracy
I am now confirming the symbolic accuracy of the illustration. The design aligns closely with the user's intent. The central tenets are well-represented via the radiating scroll and the bodhisattvas. The requested kanji are present. I have completed my assessment and will proceed accordingly.

Kanji Translation
1. Text on the top right (vertical):
妙法蓮華経 (Myōhō Renge Kyō)

Translation: The Lotus Sutra (or more literally, "The Sutra of the Lotus Flower of the Wonderful Dharma").

Significance: This is the title of one of the most important and influential sutras (scriptures) in Mahayana Buddhism. The illustration itself is a depiction of a scene from this sutra.

2. Text on the bottom left (vertical):
阿耨多羅三藐三菩提 (Anokutara-sanmyaku-sanbodai)

Translation: Supreme Perfect Enlightenment (or "Unsurpassed, Complete Awakening").

Significance: This is a phonetic transliteration of the Sanskrit term Anuttarā-samyak-saṃbodhi. It refers to the ultimate state of enlightenment attained by a Buddha.

Great-Power-Obtainer, know this! This Sūtra of the Lotus Flower of the Wonderful Dharma benefits Bodhisattva-mahāsattvas, and causes them to attain Anuttara-samyak-saṃbodhi. Therefore, they should keep, read, recite, expound and copy this sūtra after my extinction.

The Buddha gives this explanation to Great-Power-Obtainer Bodhisattva in Chapter Twenty of the Lotus Sūtra. In several places in the sūtra, the Buddha asked who would continue to teach this Wonderful Dharma after his extinction and lead all beings to Anuttara-samyak-saṃbodhi: perfect unsurpassed enlightenment. When he revealed his Ever-Present Existence in Chapter Sixteen, he assured all those receiving his words that his life is not limited to that of the physical body he inhabited. In truth he is leading all beings throughout all time and space to his wisdom, and this Lotus Sūtra he has given us is the embodiment of that wisdom.

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

WONS

The Teaching for the Latter Age of Degeneration

“The Life Span of the Buddha” chapter says: “Having taken poison, some had lost their senses while others had not. … Seeing this excellent medicine with color and scent both good, those who had not lost their senses took it and recovered from their illness.” This refers to those who received the seed of Buddhahood in the eternal past as preached in “The Life Span of the Buddha,” those who had the opportunity to establish a connection with Buddhist dharma at the time of Great Universal Wisdom Buddha as revealed in the seventh chapter on “The Parable of a Magic City,” and all those bodhisattvas, Two Vehicles (Śrāvakas and Pratyekabuddha), men and gods who received the teaching of the Buddha in the pre-Lotus sūtra as well as the theoretical section of the Lotus Sūtra attain Buddhahood in the preaching of the essential section. It is said in the same chapter:

‘The remainder who had lost their senses were happy to see their father come back and requested him to cure their illness, but they refused to take the medicine their father offered them. Why did they not take it? It was because they had been affected by poison, causing them to lose their senses and think this excellent medicine, in both color and scent, not good at all. …

“Now I have to devise an expedient means so that they may take this medicine,” thought the father. “Now I will leave this excellent medicine here with you. You should take it without worrying about its effectiveness,” instructed the father to his children and he again went abroad. Then he sent a messenger back to his children, telling them that their father had passed away.’

The seventeenth chapter, “Variety of the Merits,” in the essential section of the Lotus Sūtra states, “In the evil age of the latter dharma…,” indicating that the teaching was for the Latter Age of Degeneration.

Kanjin Honzon-shō, A Treatise Revealing the Spiritual Contemplation and the Most Venerable One, Writings of Nichiren Shōnin, Doctrine 2, Page 156.

AI Contribution, Daily Dharma

Daily Dharma for January 8, 2026

20260108-ddi

Illustration by Google Gemini

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Defining the Iconography
I'm now analyzing the user's input, trying to grasp the core request for Japanese Buddhist iconography. I'm focusing on distilling the essence of the provided text, which is from the Lotus Sutra, in order to generate a suitable illustration.

Visualizing the Concept
I'm solidifying the composition now. I'm focusing on the monks' expressions and the central figure. I will incorporate light and lotus symbols, with some text. The plan is for the artwork to visually represent the core theme of potential realization.

Composing the Scene
I'm presently building the visual narrative, sketching out the core elements. I'm prioritizing the monks' expressions of awakening and the central benevolent figure. It's key that the visual elements represent the core theme of potential realization.

Considering Iconography's Details
I'm now examining the kanji "成仏の根" and how the monks' awakening is depicted, while avoiding specific religious symbols. I'm focused on the adherence to the requested style and religious subject matter.

Assessing The Prompt's Adherence
I've confirmed adherence to the instructions, particularly the avoidance of specific religious symbols in the iconography. The composition and text inclusion meet expectations.

Translation of kanji
成仏の根 (Jōbutsu no ne)

Here is the translation and breakdown:

成仏 (Jōbutsu): Becoming a Buddha; attaining enlightenment.

の (no): A particle indicating possession or modification (like "of").

根 (ne): Root; source; basis; origin.

Therefore, the phrase translates to:

"The Root of Buddhahood" or "The Seed of Enlightenment"

You, the World-Honored One, saw that the aspiration for the knowledge of all things was still latent in our minds; therefore, you awakened us, saying, ‘Bhikṣus! What you had attained was not perfect extinction. I caused you to plant the good root of Buddhahood a long time ago.’

Five hundred of the Buddha’s monks give this explanation in Chapter Eight of the Lotus Sūtra. In the story, the Buddha has just assured them of reaching the same enlightenment he found. These monks had worked diligently for many years to rid themselves of suffering, and taught many other beings to become Bodhisattvas and reach the Buddha’s enlightenment, thinking they were not capable of reaching this wisdom. Not believing we are capable of something obscures the capability we have. When the Buddha proclaims that he leads all beings, he reminds us of this capacity and inspires us make efforts to bring all beings, including ourselves, to his joy.

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

WONS

The Buddha in Our Minds

Finally, let us try to answer your first question [in part 1 of Question (18) ] whether or not vast virtue of Lord Śākyamuni Buddha exists in our minds. The Sūtra of Infinite Meaning (Muryōgi-kyō), which is regarded as an introductory teaching to the Lotus Sūtra, explains how we attain Buddhahood:

“Suppose there was a prince just born to a king and his queen. Growing up day by day, month by month, year by year, the new prince has reached the age of seven. Though unable to attend the affairs of state, he is respected by his father’s subjects and befriended by children of great kings. He is loved by his royal parents, who find it most enjoyable to chat with him constantly. Why is this? It is because the prince is still young. My good people, he who upholds this Lotus Sūtra is just like this prince. His father is Buddhas; and his mother, this sūtra. Just as the prince was born to the king and his queen, Buddhas and this sūtra are united in one to give birth to the bodhisattva, upholder of this sutra. Suppose, having listened to the Lotus Sūtra, he reads a phrase or a verse of it, or reads it once, twice, ten, one hundred, one thousand, ten thousand times, or one trillion times the grains of sand of the Ganges River—unlimited and infinite number of times. Even if he had not yet obtained the ultimate truth, he would be respected by all the four groups of Buddhists (monks, nuns, laymen, and laywomen) and the eight kinds of gods and semi-gods, protectors of Buddhism. Accompanied by great bodhisattvas, he would always be protected and cared for by Buddhas and completely surrounded by their benevolence. It is because he is a beginner on the way to Buddhahood.”

Then, we come across the following passage in the Sūtra of Meditation on the Universal Sage Bodhisattva (Kan Fugen Bosatsu Gyōbō-kyō), considered to be the conclusion of the Lotus Sūtra: “This Mahayana Sūtra of the Lotus Flower of the Wonderful Dharma is the treasure house of all the Buddhas and the eyes of all the Buddhas in all the worlds in the universe in the past, present, and future. It is the seed of Buddhahood giving birth to all the Buddhas in the past, present as well as future. You must put the Mahayana teaching into practice lest the seed of Buddhahood be extinguished.” And also: “This Mahayana sūtra is the eyes of all the Buddhas. It is by means of this Lotus Sūtra that all the Buddhas reach the stage of having Five Eyes. The Buddha with three bodies (Dharma Body, Reward Body, and Accommodative Body) was born from this sūtra. This sūtra is the great seal of enlightenment impressed upon the sea of Nirvana, from which the Buddha with three pure bodies was born. The triple-bodied Buddha, therefore, is the source of happiness for men and gods alike.”

Kanjin Honzon-shō, A Treatise Revealing the Spiritual Contemplation and the Most Venerable One, Writings of Nichiren Shōnin, Doctrine 2, Page 141-142.

AI Contribution, Daily Dharma

Daily Dharma for January 7, 2026

20260107-ddi

Illustration by Google Gemini

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Focusing on Buddhist Imagery
I am starting to explore the core request. It involves generating a square Japanese Buddhist illustration. I am concentrating on the need to exclude specific figures like Amida and Dainichi Nyorai while focusing on the central concept, which is the "Opening the Eyes" ceremony as described in Nichiren's writings.

Deconstructing the Ceremony
Now I am dissecting the central theme: the "Opening the Eyes" ceremony. The current focus is on visual elements. I'm aiming for a Japanese Buddhist statue, avoiding specific forbidden figures. I'm thinking a Shakyamuni statue as the central figure, with a monk performing the ritual. My goal is to add symbolism that conveys the "invisible voice," possibly through light or subtle glows from the statue.

Crafting a Detailed Depiction
I'm now focusing on a concrete scene. A wooden Shakyamuni statue will be central, consecrated by a robed monk. I will add light and clouds radiating from the figure, to subtly represent the "invisible voice." I will also include a text nearby the ceremony, showing both Japanese kanji and an English equivalent. I am aiming to blend traditional Japanese art with a spiritual ambience.

Analyzing Visual Elements
I'm making a comparison between the visual elements and the specifics of the user's request, focusing on the correct depiction of a general Buddha statue. I am verifying the alignment with the "Opening the Eyes" ceremony as described, and I'm checking that the illustration is in the style requested. Also, I am carefully looking for how it incorporates the specific quote.

Validating Artistic Accuracy
I have finished cross-referencing the image against the provided guidelines. I confirmed the style's adherence to Japanese Buddhist art. I also verified the quote's integration and correct kanji use. Furthermore, I have double-checked the Buddha statue's depiction for accuracy, and confirmed it aligns with the user's defined parameters.

Kanji translation
The kanji characters in the upper right corner are:

開眼 (pronounced kaigen)

These characters translate to "Opening the Eyes".

開 (kai) means "open" or "start".

眼 (gen) means "eye".

As the English text directly below the kanji indicates, this refers to the ceremony of "Opening the Eyes" of a Buddhist image or statue.

The Buddha possesses 32 marks of physical excellence, all of which belong to the category of matter. The Brahma’s voice, pure and immaculate voice of the Buddha, however is invisible. Therefore it is impossible for us to depict it in pictures or statues.

Nichiren wrote this passage in his Treatise on Opening the Eyes of Buddhist Images, Wooden Statues or Portraits (Mokue Nizō Kaigen no Koto). The statues, portraits and other images of the Buddha and other protective deities which we use in our practice are not meant to be idols. They are living examples of the perfections to which we aspire and from which we draw strength. The ceremony in which we “Open the Eyes” of an Omandala or anything else we use in our practice reminds us that everything around us has life. When we hear the Buddha’s voice from them, leading us to enlightenment, then we learn how to improve the world for ourselves and all beings.

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

WONS

Finding 3,000 Realms in the Lotus Sutra

Note: Nichiren writes: “[W]e do not see how our mind contains ten realms, 100 realms, 1,000 aspects, and 3,000 modes of existence, unless we see our reflection in the clear mirror of the Lotus Sūtra and writings of Grand Master T’ien-t’ai such as Great Concentration and Insight.” Nichiren then specifies where in the Sūtra we find the explanation.

QUESTION (13): Which parts of the Lotus Sutra are you referring to? How about T’ien-t’ai’s explanation of them?

ANSWER: The second “Expedients” chapter of the Lotus Sutra (fascicle 1) states that the purpose of the Buddhas appearing in the worlds was “to cause all living beings to open the gate to the insight of the Buddha.” This means that of the nine of the ten realms of living beings (excepting the realm of Buddhas), each embraces the realm of Buddhas. In the sixteenth chapter, “The Life Span of the Buddha,” the sutra also declares: “As I said before, it is immeasurably long since I, Śākyamuni Buddha, obtained Buddhahood. My life spans an innumerably and incalculably long period of time. Nevertheless, I am always here and I shall never pass away. Good men! The duration of my life, which I obtained by practicing the way of bodhisattvas, has not yet expired. It will last twice as long as the length of time as stated above.” This passage also shows that the nine realms are included in the realm of Buddhas.

The following passages in the Lotus Sutra also show that the ten realms of living beings embrace one another. It is said in the twelfth chapter, “Devadatta,” that after an incalculably long period of time, Devadatta will be a Buddha called “Heavenly King.” This shows the realm of Buddhas included in the realms of hells as it says that even a man as wicked as Devadatta, who had tried to kill the Buddha and had gone to hell, will be able to become a Buddha.

In the twenty-sixth chapter on the “Mystic Phrases,” the Buddha praises the ten female rāksasas demons such as Lambā saying, “Your merits will be immeasurable even when you protect the person who keeps only the name of the Lotus Sutra.” Since even these rāksasas demons in the realm of hungry spirits protect the practicer of the Lotus Sūtra, the ten realms, from hells up to the realm of Buddhas, are comprised in the realm of hungry spirits.

The “Devadatta” chapter states also that a daughter of a dragon king attained perfect enlightenment, proving the existence of the ten realms in the realm of beasts.

The tenth chapter, “The Teacher of the Dharma,” says that even a semi-god like Asura King Balin (a king of asura demons mentioned in the first “Introduction” chapter) will obtain Buddhahood if he rejoices for a moment at hearing a verse or a phrase of the Lotus Sutra. This shows that the ten realms are contained in the realm of asura demons.

It is stated in the second “Expedients” chapter: “Those who carve an image of the Buddha with proper physical characteristics in His honor have already attained the enlightenment of the Buddha,” showing that the realm of man includes the ten realms in it.

Then in the first “Introduction” and the third “A Parable” chapters, various gods such as the great King of the Brahma Heaven declare, “we also shall be able to become Buddhas,” proving that the ten realms are contained in the realm of gods.

In the third chapter, the Buddha assures Śāriputra, the wisest of His Śrāvaka disciples, that he will also attain Buddhahood in future life and will be called “Kekō (Flower Light) Buddha.” This confirms the existence of the ten realms in the realm of Śrāvaka.

The second chapter states that those monks and nuns who sought emancipation through the way of pratyekabuddha (without guidance of teachers by observing the principle of cause and effect) pressed their hands together in respect, wishing to hear the Perfect Way. This affirms the existence of the ten realms in the realm of pratyekabuddha.

It is written in the twenty-first chapter, “Divine Powers of the Buddha,” that bodhisattvas as numerous as particles of dust of 1,000 worlds, who had sprung up from underground, beseeched the Buddha for this true, pure, and great dharma, namely the Lotus Sutra. This verifies the existence of the ten realms in the realm of bodhisattvas.

Finally in the sixteenth chapter, the Buddha sometimes appears as a Buddha in the realm of Buddhas but at other times appears as some of the others who reside in the other nine realms. This indicates that the ten realms are included in the realm of Buddhas.

Kanjin Honzon-shō, A Treatise Revealing the Spiritual Contemplation and the Most Venerable One, Writings of Nichiren Shōnin, Doctrine 2, Page 130-131.

AI Contribution, Daily Dharma

Daily Dharma for January 6, 2026

20260106-ddi

Illustration by Google Gemini

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Considering the Context
I'm focusing on the core message, which highlights internal corruption as the main threat. The artwork should reflect the warning about misleading figures in a degenerated age, contrasting them with the true teachings.

Interpreting Visuals
I've been developing an illustration, guided by the central theme of internal corruption versus genuine teachings. I'm aiming for a Japanese Buddhist aesthetic. My current focus is contrasting "false monks" with a figure representing Nichiren, using visual cues to depict their differing natures. I'm also planning the inclusion of kanji and English text to provide further context. The design also incorporates a brocade border.

Validating the Concept
I am now verifying the illustration against the user's initial prompt. The image aligns with the request, effectively integrating Japanese Buddhist elements. It accurately features Nichiren and represents the 'Latter Age.' The visual portrayal differentiates a genuine monk from corrupt figures.

Reviewing the Execution
I'm checking the image against the prompt, making a few tweaks. The illustration successfully embodies the Japanese Buddhist aspects of the user's concept. It features Nichiren and represents the 'Latter Age,' contrasting a genuine monk with corrupt figures and incorporating worldly threats. The text appears to be suitably limited and well placed. The image seems ready for delivery.
Translate kanji
Here is the translation of the kanji text:

On the banner at the top:

Kanji: 立正安国

Romaji: Risshō Ankoku

Translation: "Establish the True [Dharma] and Make the Country Peaceful" or "Securing the Peace of the Land by Establishing the Correct Teaching." This is a core concept in Nichiren Buddhism and the title of a famous treatise by Nichiren.

On the scroll held by the central figure:

Kanji: 妙法蓮華経

Romaji: Myōhō Renge Kyō

Translation: "The Sutra of the Lotus Flower of the Wonderful Dharma," commonly known as the Lotus Sutra.

Thus, what the people in the Latter Age of Degeneration should be afraid of are not swords and sticks, tigers and wolves, or the ten evil acts and the five rebellious sins but those monks who wear Buddhist robes and pretend to be high priests without knowing the true teaching and those people who regard monks of provisional teachings as venerable and hate the practicers of the True Dharma of the Lotus Sutra.

Nichiren wrote this passage in his Treatise on Chanting the Great Title of the Lotus Sūtra (Shō Hokke Daimoku-shō). In Nichiren’s time, Buddhist monks had a great influence on the leaders of Japan, and thus on the lives of ordinary people. Wars, taxes, disease and education were no less important in Nichiren’s time than they are now. Nichiren recognized that the greatest danger came not from external forces, but from those within the country who took positions of power to benefit themselves rather than others. Nichiren’s reliance on the Wonderful Dharma, and his refusal to be coerced by his persecutions, show us how to live in this degenerating age.

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