Reciting the Lotus Sutra in Shindoku

Keeping track of my recitation of the shidoku Lotus Sutra

Today I completed my 112th recitation of the Lotus Sutra in shindoku.

For the first 10 years of my Journey to the Place of Treasures, I would recite a portion of the Lotus Sutra in shindoku in the morning and then in the evening read the same portion in English.

At the end of 2024 I decided forgo the shindoku and focus on a more traditional morning and evening service – Hoben Pon and Ji Ga Ge – followed with reading aloud a portion of the Lotus Sutra in English. At the same time, I decided to recite the entire Lotus Sutra in shindoku in February – a different chapter each day for 28 days. In the evening I would read aloud in English both the morning and evening portions of the Lotus Sutra due that day.

I started this routine in 2025 and I’ve continued it into 2026. However, I’m considering going back to my original 32 Days of the Lotus Sutra routine next year. I miss the mystical Dharma Sound paired with the native English.

The Voice-Hearer

The voice-hearer (śrāvaka) refers to disciples of the Buddha such as Śāriputra and Kāśyapa. They observed the 250 precepts and practiced the supra-worldly meditation. Moreover, they contemplated the truths of suffering, emptiness, impermanence, and self-effacement; completely eliminated the delusions arising from false views and thoughts; and mastered the supernatural power of being in water and fire. Therefore, they were able to make even the King of the Mahābrahman Heaven and Indra their followers.

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 48

Daily Dharma for February 28, 2026

20260228-ddi

Illustration by Google Gemini

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Gemini Thinking

The illustration visualizes Chapter Twenty-Two of the Lotus Sūtra, focusing on Śākyamuni Buddha’s transmission of the Dharma after immense effort. The central theme is the sharing of this treasure with all beings, demonstrating that wisdom is meaningful only when common to others, rather than held in delusions.

Central Figure: The composition is centered on Śākyamuni Buddha, who has attained Anuttara-samyak-saṃbodhi (Highest Complete Enlightenment). He is seated on a massive multi-tiered lotus throne under a grand, stylized Bodhi-like tree, radiating a warm, golden halo of light. His hands are in the Teaching Wheel (Dharmachakra) Mudra, actively imparting the Dharma. A detailed, glowing golden sūtra scroll (representing the Lotus Sūtra) is unfurled at his feet.

Multitude of Listeners: A vast and diverse gathering fills the foreground and midground, representing the universal nature of the teaching and Buddha’s entrustment to all present. This assembly includes:

Monks: Numerous figures with shaven heads and simple monastic robes, looking up reverently. These represent the historical sangha and disciples, such as Ānanda and Mahākāśyapa.

Bodhisattvas: Several prominent figures in elaborate crowns, robes, and flowing garments (including female figures with crowns) are depicted, like Avalokiteśvara (Kannon) or Mañjuśrī, holding similar small scrolls.

Laypeople: Men in various hats, court attire, and styles of dress, alongside women in refined Japanese historical styles, signifying that the teaching is for lay followers as well.

Mythical Beings and Guardians: To the right, slightly fierce-looking figures (like a blue-skinned Deva and a red, horned yakṣa) are present, indicating the Dharma is listened to by devas, asuras, and guardian spirits. Many are looking up with attention, hands pressed together in Añjali Mudra.

Propagation Symbolism: In the clouds surrounding the Buddha, several other figures, including an older monk and a female deity, are seen carrying glowing sūtra scrolls outward, symbolizing the subsequent propagation of the teachings "far and wide" by the Buddha’s disciples and various beings to benefit the world. The background has distant pagodas and mountains under a warm sky.

Identification of Specific Figures
Śākyamuni Buddha: The central, largest figure seated on the lotus throne under the tree.

Monks: Numerous shaven-headed figures, mostly in the foreground, like the many disciples present at the teaching.

Female Bodhisattvas/Devotees: Figures with crowns and refined robes mixed into the crowd, and a floating figure in the sky, representing idealized female practitioners and bodhisattvas.

Lay Figures: A diverse array of men with various hats and women with elaborate traditional hairstyles.

Devas/Asuras: To the right, the blue and red figures representing divine and fierce beings attending the transmission.

Floating Disciples: The monk and other figures floating in the sky holding scrolls, symbolizing those who will spread the message.

For many hundreds of thousands of billions of asaṃkhyas of kalpas, I studied and practiced the Dharma difficult to obtain, and [finally attained] Anuttara-samyak-saṃbodhi. Now I will transmit the Dharma to you. Propagate it with all your hearts, and make it known far and wide!

Śākyamuni Buddha entrusts his highest teaching to all those gathered to see him in Chapter Twenty-Two of the Lotus Sūtra. He had already explained how difficult it is to believe and practice this highest teaching, and all the trouble it took for him to reach it. He also realizes that this teaching is not something he can keep for himself, and is meaningful only when it was shared with others. This is yet another example of the Buddha showing us how to live with the beings we want to benefit. We realize that our treasure is not what we keep for ourselves, but what we have in common with others. We are diminished not by what we lose, but by attempting to hold on to our delusions.

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

Hierarchy of Gods and Their Merits

Incomparably superior to the Wheel-turning Noble King are the Four Great Heavenly Kings including Vaiśravaṇa, who are the great kings of the Four Continents. Indra is the lord of Trāyastriṃsá (the heaven of the 33 gods) while the King of Devils in the Sixth Heaven dwells on top of the realm of desire and controls the triple world. They acquired such good fortune by virtue of observing the ten good precepts to the highest degree and through giving the root of goodness equally to all without discrimination. The King of the Mahābrahman Heaven, who is the lord of the triple world, dwells on the summit of the world of form waited on by the King of Devils and Indra, and he controls the triple-thousand worlds. This is the merit received from having practiced not only the meditation to eliminate worldly passions but also the Four Infinite Virtues (of benevolence, compassion, giving joy, and selflessness).

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 48

Daily Dharma for February 27, 2026

20260227-ddi

Illustration by Google Gemini

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Gemini Thinking

In this square illustration, I have visually interpreted the beginning of Chapter Ten of the Lotus Sūtra, using Japanese Buddhist iconography and a traditional aesthetic.

The scene centers on Śākyamuni Buddha (Shaka Nyorai) as he addresses Medicine-King Bodhisattva (Yakuō Bosatsu), who is listening attentively. Below them, a path through a stylized landscape represents our world. Following the Sūtra's teachings, various figures engage in meritorious acts: a monk recites from a text, a scribe carefully copies a scroll, and a layperson joins hands in respectful prayer before an altar. Finally, compassionate beings are seen descending from the clouds, embodying the vow to be born in this suffering world to benefit all beings.

As you requested, I have included the artist's signature 双子座 (Futagoza) and the red seal containing the katakana ジェミニ (Jemini) in the bottom right corner.

If anyone keeps, reads, recites, expounds and copies even a gāthā of the Sūtra of the Lotus Flower of the Wonderful Dharma, and respects a copy of this sūtra just as he respects me…or just joins his hands together respectfully towards it, Medicine-King, know this, that person should be considered to have appeared in the world of men out of their compassion towards all living beings.

Śākyamuni Buddha declares these lines to Medicine-King Bodhisattva at the beginning of Chapter Ten of the Lotus Sūtra. We might believe that everything happens by chance, or that we were sent into this life by someone who is testing us. This Sūtra awakens us to our existence as Bodhisattvas who asked to be born in this world of suffering out of our vow to benefit all beings.

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

Wonderful Merits of the ‘Wheel-Turning Noble King’

In the first place, the “Wheel-turning Noble King” is the foremost among humans. When this king appears in the world, a huge tree called uḍumbara grows in the ocean, blossoms and bears fruits as an omen. There are four kinds of “Noble King” based on the different qualities of the wheel. When the “Golden-wheel King” appears, peace prevails throughout the Four Continents, the earth is as soft as cotton, the ocean is as sweet as nectar, and the seven treasures grow like plants and trees on golden mountains. This king can travel around the world in a moment as various heavenly beings protect him and demons come to serve him while the dragon king sends down rain when appropriate. Even lowly people can travel around the whole world in a moment by following this king. These wonderful merits of the “Wheel-turning Noble King” are all rewards for having practiced the “ten good acts” in the past lives.

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 47-48

Daily Dharma for February 26, 2026

20260226-ddi

Illustration by Google Gemini

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Gemini Thinking

Defining the Composition
I'm currently working on a square composition centered around Kannon Bodhisattva, keeping in mind the need to avoid references to Amitabha and Mahavairocana. I've started defining the key visual elements and overall aesthetic direction. My focus is on creating a specific artistic style and incorporating the artist's signature.

Refining the Concepts
I'm now prioritizing the visual narrative, focusing on the core concept from the Lotus Sutra to guide the aesthetic choices. I am determining the suitable placement and size for the artist's signature and red seal, specifically the Kanji 双子座 and Katakana ジェミニ. I've started considering how to visually represent the concept of alleviating suffering within the composition.

Conceptualizing the Illustration
I'm now determining how to visually portray the verse from the Lotus Sutra, focusing on Kannon's ability to alleviate suffering and instill fearlessness. I'm exploring two main approaches: a narrative scene showing individuals' suffering dissolving upon encountering Kannon, or a more symbolic representation of Kannon's compassionate light removing obstacles. The choice of Kannon's form, whether a classic Sho Kannon or a more symbolic depiction, is still being considered. I'm prioritizing how to best convey the central concept visually within the square format, and working on appropriate artist signature placement.

Refining the Visualization
I'm now prioritizing the central visual narrative: a graceful Kannon descending from the clouds. Beneath, figures are experiencing hardship, their fear subsiding as Kannon reaches out. I've decided to place the artist's signature and red seal, a small red square with stylized katakana, in an appropriate spot within the composition. I'm focusing on the visual flow and balance within the square format.

I'm now determining how to visually portray the verse from the Lotus Sutra, focusing on Kannon's ability to alleviate suffering and instill fearlessness. I'm exploring two main approaches: a narrative scene showing individuals' suffering dissolving upon encountering Kannon, or a more symbolic representation of Kannon's compassionate light removing obstacles. The choice of Kannon's form, whether a classic Sho Kannon or a more symbolic depiction, is still being considered. I'm prioritizing how to best convey the central concept visually within the square format, and working on appropriate artist signature placement.

Visualizing the Verse
I'm now generating initial sketches, prioritizing a graceful Kannon descending amidst clouds, reaching towards figures experiencing hardship below. I will integrate the artist's signature ("Futagoza" in Kanji), and the red square seal ("Jemini" in Katakana), ensuring they are appropriately sized and placed, focusing on visual flow within the square format. I'm focusing on the feeling of fearlessness.

Visualizing the Scene
I'm now generating initial sketches, prioritizing a graceful Kannon descending amidst clouds, reaching towards figures experiencing hardship below. I will integrate the artist's signature ("Futagoza" in Kanji), and the red square seal ("Jemini" in Katakana), ensuring they are appropriately sized and placed, focusing on visual flow within the square format. I'm focusing on the feeling of fearlessness.

I've determined that the artist's signature ("Futagoza" in Kanji) and the red seal ("Jemini" in Katakana) should be small and appropriately placed. I've begun to translate the central verse visually, with Kannon descending to alleviate suffering. The goal is to convey a clear sense of peace.

Analyzing Visual Harmony
I'm currently focused on evaluating the visual alignment with the requirements, paying close attention to the execution of the Japanese Buddhist elements within a square format. I've also checked the calligraphy, focusing specifically on stroke order and the placement of '双子座' and 'ジェミニ', to ensure that they are integrated effectively within the design. The visual depiction of Kannon's attributes is under review.

Assessing Specification Compliance
I've assessed the illustration against your specifications. The integration of Japanese Buddhist iconography within the square format is notable. The calligraphy elements, including '双子座' and 'ジェミニ', adhere to the correct stroke order and placement. The symbolic depiction of Kannon and the attributes referencing the Lotus Sutra are aligned with the intended goal. The visual alignment meets the required criteria, and I've prepared it to be shared.

If you hear his name, and see him,
And think of him constantly,
You will be able to eliminate all sufferings.

Śākyamuni Buddha gives this description of World-Voice-Perceiver Bodhisattva (Kannon, Kanzeon, Avalokitesvara) to Endless-Intent Bodhisattva in Chapter Twenty-Five of the Lotus Sūtra. World-Voice-Perceiver is the embodiment of compassion. The power of World-Voice-Perceiver is the power of compassion.World-Voice-Perceiver is also known as the one who brings fearlessness. When we can face up to the suffering in the world, both our own and that of others, we can see it for what it is. Then we are no longer afraid of suffering. What else is there to be afraid of?

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

Merits of Those Who Uphold the Lotus Sutra

It is preached in the Teacher of the Dharma chapter of the Lotus Sutra, Fascicle Four, that the merits of those who praise the one who practices the Lotus Sutra are superior to the merits of those who endeavored to seek the Buddhist Way for as long as a kalpa. Grand Master Miao-lê interprets this scriptural statement saying, “He who torments the upholder of the Lotus Sutra will have his head split into seven pieces. On the contrary he who sustains the upholder of the Lotus Sutra will be rewarded with merit greater than the merit of the one giving offerings to the Buddha, who holds the 10 epithets.”

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin,
Volume 6, Followers I, Pages 47

Daily Dharma for February 25, 2026

20260225-ddi

Illustration by Google Gemini

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Gemini Thinking

Visualizing Diverse Beings
I'm now focusing on a square image using Japanese Buddhist iconography to embody a quote about perception and bias. I'm steering clear of depicting specific Buddhas, and aiming to visually represent the concept of inherent equality despite perceived differences in beings. I'm exploring symbolic representations to convey this idea.

Exploring Symbolic Reflection
I am developing the central figure as a meditating practitioner. The goal is to visually represent the quote with a diverse crowd of figures in a mirror, symbolizing all living beings. The swirling figures inside the "mirror" need to show a wide range of types: the noble and humble, handsome and ugly, and even regions reflecting better and worse. The challenge is in the stylistic choice of the faces for maximum impact.

Conceptualizing a Unified View
I'm now integrating the reflection with the central figure. I intend to stylize the "mirror" to be the practitioner's body or an object they hold. The swirl of beings within will be meticulously crafted to show diversity but with a unifying "Buddha-nature." I'm prioritizing the visual impact of their co-existence, creating a harmony of forms and aesthetics. The focus is to make the reflection a strong visual metaphor. The art style will follow the traditional Japanese painting style, and I will place my kanji signature and seal in the corner.

Analyzing Composition Details
I'm currently focused on evaluating the image's adherence to the original request, paying close attention to its structural aspects and thematic representation. The image meets the square format, and the Buddha figure aligns well with the thematic goals. The central figure avoids specific, named figures.

Confirming Image Alignment
I've assessed the recent image's conformity with the user's initial specifications, noting its successful execution of the square format and adherence to thematic requirements. The central Buddha figure is indeed generic, avoiding specific named figures. I confirmed the inclusion and placement of the signature and seal. I observed that the composition is thematically relevant.

All living beings are either noble or humble. They are either handsome or ugly. They are destined to be reborn either in a better region or in a worse region. All of them will be reflected on the pure bodies [of the good men or women].

Śākyamuni Buddha makes this declaration to Constant-Endeavor Bodhisattva in Chapter Nineteen of the Lotus Sūtra, describing those who keep the Lotus Sūtra. Much of what we see in the world is a projection of our own biases and ignorance. We see things for what we want them to be rather than what they are. We classify the people in our lives as friends, enemies or strangers not because of their inherent qualities, but because of how they treat us. When we act for the benefit of others rather than our own gratification, we are showing them their true qualities. We let them see themselves for what they are.

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

The Most Serious Sins Ever to Appear

There will be a person who abuses the Buddha physically, verbally, and mentally for as long as a kalpa like Devadatta. The Buddha was the crown prince of King Śuddhodana while Devadatta was a prince of Doroṇodana, and therefore the Buddha and Devadatta were first cousins. In the past as well as today, among sages as well as ordinary people, a breakdown of human relations arises more often from the dispute over women than anything else. When Śākyamuni Buddha was Crown Prince Siddhārtha, Devadatta was also a crown prince. Minister Ya’o had a daughter called Yaśodharā, who was the most beautiful girl in the whole India, and whose beauty was known throughout the world. As Crown Prince Siddhārtha and Devadatta fought for her hand, their relationship turned sour. Thereafter, Prince Siddhārtha entered the priesthood becoming the Buddha, and Devadatta, too, entered the priesthood under the guidance of Monk Sūdra. As the Buddha observed the 250 precepts and maintained the 3,000 proper demeanors of a priest, all the heavenly beings and the people adored and respected Him. However, no one respected Devadatta, causing him to ponder over a way to win a better reputation than the Buddha among the people in the world. In the end Devadatta began to assert that there were five points that proved that he should be more respected than the Buddha. It is preached in the Fourfold Precepts that a Buddhist monk should always 1. wear a robe made of rags; 2. beg for alms; 3. take a meal only once a day; 4. sit in the open; and 5. not take the five kinds of seasoning such as salt. Thus Devadatta publicized them saying, “The Buddha accepts the robes donated by people, but I wear a robe made of ragged pieces of cloth; the Buddha takes the food offered by people, but I have to beg for alms to feed myself; the Buddha has a meal three times a day, but I have it only once a day; the Buddha takes a rest in the shade of a rock or under a tree, but I, Devadatta, always sit in the open during the day; and the Buddha sometimes tastes the five kinds of flavors (sour, bitter, sweet, peppery, and salty), but I have never taken them.” As a result the people in the world were led to believe that Devadatta was incomparably superior to the Buddha.

While Devadatta was trying to demean the Buddha’s reputation, King Bimbisāra in Magadha, a follower of the Buddha, was sending 500 wagons full of donations to the Buddha and his disciples every day without fail for several years. Envious of this royal donation, Devadatta incited Crown Prince Ajātaśatru to murder his own father, King Bimbisāra, while he himself tried to kill the Buddha by hurling a rock at Him. His act of trying to kill the Buddha with a rock constitutes committing the sin of an evil physical act; while accusing the Buddha of deceiving people is an evil verbal act; and thinking of the Buddha as a loathsome enemy from a previous life is an evil mental act. The evil acts of Devadatta, consisting of physical, verbal, and mental acts, are the most serious sins ever to appear.

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 45-46