All posts by John Hughes

AI Contribution, Daily Dharma

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

d17b, WONS

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

AI Contribution, Daily Dharma

Daily Dharma for February 24, 2026

20260224-ddi

Illustration by Google Gemini

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Gemini Thinking

Defining the Artistic Direction
I'm now zeroing in on defining the artistic direction. I'm focusing on the traditional Japanese painting style, specifically Nihonga, with an emphasis on mineral pigments, sumi ink, and aged paper. The format is locked in as square, and I'm homing in on the subject.

Refining the Composition's Elements
I'm now refining the composition's elements. I've decided on the Nihonga style, square format, and the subject is the Udumbara flower legend from the Lotus Sutra. I am also working on the figures: two princely sons, their parents (the King and Queen), and a stylized Buddha in the distance. I intend to use swirling clouds, stylized plants, and gold leaf accents. I also have the text and signature to include.

Assessing Artistic Accuracy
I am now evaluating the generated illustration against the user's specific request and desired artistic style. The illustration accurately represents the required narrative elements. I'm taking a close look at the details.

Verifying Narrative Elements
I'm confirming the illustration's adherence to the story's core narrative. The generated image showcases the requested elements: the royal family observing the lotus. It matches the traditional Japanese aesthetic specified in the prompt. I've ensured inclusion of necessary visual details, while also avoiding the prohibited content. I am now confident in forwarding it.

To see a Buddha is as difficult
As to see an udumbara[-flower].
To avert a misfortune is also difficult.

These verses are sung by two sons of a king in a story told by the Buddha in Chapter Twenty-Seven of the Lotus Sūtra. In the story, the boys have heard the Dharma from a previous Buddha and are asking permission from their parents to leave home and follow that Buddha. The legend of the udumbara flower is that it only blooms every 3000 years. Meeting a Buddha is not to be taken for granted. However, it is still important to remember the ties of our families. Rather than leaving in secret from their home, the sons’ asking permission from their parents creates more benefits. The King and Queen accompany their sons and learn the Wonderful Dharma. As Bodhisattvas it is important to use our relationships wisely as we lead all beings to enlightenment.

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

WONS

Each Character of the Lotus Sūtra

A plant can increase in number when its seed is planted. A dragon can transform a small body of water into a lot of rain, and humans can turn a small flame into a fiery blaze. Likewise, although the piece of cloth for a clerical robe and an unlined kimono is limited to one each, their number will be 69,384 each when they are donated to the Lotus Sūtra consisting of 69,384 Chinese characters. As each Chinese character of the Lotus Sūtra represents a living Buddha, the offering to the sūtra is equivalent to the offerings to 69,384 Buddhas. These Buddhas of the Lotus Sūtra are equipped with the hearts of regeneration that enable the Two Vehicles to attain Buddhahood as if a rotten seed has been revitalized; their life spans are as eternal as that of the Original True Buddha revealed in the sūtra; their throats are made of the ever-lasting Buddha-nature; and their primary object is the practice of the One Vehicle teaching. The figures of Buddhas appearing in this world to save living beings are not that of the true Buddha. Rather than Buddhas of corresponding manifestation with 32 marks or 80 minor marks of physical excellence, those Buddhas represented by each character of the Lotus Sūtra are the true Buddhas. Of those who encountered the Buddha and became His followers during His lifetime, some were unable to become Buddhas. Nevertheless, according to the golden words of the Buddha, those who embrace the teaching of the Lotus Sūtra after the passing of the Buddha “will never fail to attain Buddhahood” (the “Expedients” chapter).

When I have this clerical robe tailored, put on upon the unlined kimono and recite the Lotus Sūtra, though Nichiren is a priest without observing a Buddhist precept, as the Lotus Sūtra is the golden words of the Buddha, the merit of your donation will reach you just as a poisonous snake spits out a gem or sandalwood trees grow among eraṇḍa.

Onkoromo narabini Hitoe Gosho, Thank-you Note for a Clerical Robe and an Unlined Kimono, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 8-9

AI Contribution, Daily Dharma

Daily Dharma for February 23, 2026

20260223-ddi

Illustration by Google Gemini

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Gemini Thinking

Comprehending Verse's Essence
I'm now diving deep into the provided Japanese Buddhist verse. The focus is on the Bodhisattva Kannon and the concept of compassion. I am working to grasp the verse's core essence, which seems to revolve around Avalokiteśvara, and reliable compassion.

Defining Visual Representation
I am now focusing on determining the most appropriate visual representation. My current approach involves the key elements: Kannon, the environment's atmosphere, and the integration of a signature. The goal is a serene, traditionally Japanese illustration in a nihonga style, reflecting the essence of the verse about the Bodhisattva. The setting involves traditional Japanese elements.

Assessing The Visual Alignment
I'm currently verifying the alignment of the visual content with the provided instructions. I am ensuring that the illustration meets all specified criteria, including the subject matter and the required style. I am focusing on the intended theme.

Confirming Style & Content
I am now confirming that the style adheres to all the parameters of Japanese Buddhist art. I'm double-checking the thematic elements; the compassion being shown and the presence of the suffering figure. The image is a square, and I've verified that the signature and seal are in their proper place.

Do not doubt him even at a moment’s thought!
The Pure Saint World-Voice-Perceiver is reliable
When you suffer, and when you are confronted
With the calamity of death.

Śākyamuni Buddha sings these verses in Chapter Twenty-Five of the Lotus Sūtra. The calamity of death is something we all will face eventually, whether it our own or that of those we love. The other calamities in our lives are relatively minor losses which can prepare us for this great calamity. The Bodhisattva World-Voice-Perceiver is the embodiment of Compassion: the desire to benefit all beings. When we learn to use all of the suffering in our lives, especially the calamity of death, as a way to remove our delusions and benefit others, then we can see the world with the eyes of the Buddha and know the joy he declares is at the core of our being.

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

WONS

The Canonical Robe

Now, in ancient times there lived a monk among the Buddha’s disciples. Once during a famine, as the Buddha did not have enough to eat, this monk sold his own kesa stole and donated the money to the Buddha. The Buddha was curious about the donation and thus asked the monk for details. The monk explained. The Buddha then declined to accept the offering by saying, “A Buddhist priest’s stole is the canonical robe in which various Buddhas in the past, present, and future lives gain emancipation. I do not think I can repay such a great favor which was gained by selling such a precious robe.” The monk then asked the Buddha what he should do with the money for the kesa stole he sold. The Buddha asked in return whether or not the monk had a mother. “Yes, I have,” answered the monk. The Buddha then told the monk that he should offer the money to his own mother. The monk then said to the Buddha, “The Buddha is the Most Venerable One in the triple world. You are the eyes of all living beings. You are able to repay the money of a great canonical robe that may cover all the worlds in the universe or a wide kesa stole that may spread over the great earth. On the contrary, my mother is as ignorant as cattle and more hopeless than a sheep. How will she be able to repay the indebtedness of offering a kesa stole?” In response, the Buddha carefully questioned the monk, “Who gave birth to you? Isn’t it your mother who gave birth to you? There is no doubt that she will be able to repay the indebtedness of this kesa robe.”

Toki-dono Gohenji, Response to Lord Toki, Writings of Nichiren Shōnin, Followers I, Volume 6, Page 6-7

AI Contribution, Daily Dharma

Daily Dharma for February 22, 2026

20260222-ddi

Illustration by Google Gemini

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Kanji Translation

The kanji text on the scroll reads:

法華経 (Hokekyō)

This translates to The Lotus Sutra.

Gemini Thinking

Defining the Scope
I'm currently working through the initial request, clarifying the parameters. The focus is on a traditional Japanese Buddhist illustration, excluding particular figures but including a signature and stamp. I'm carefully analyzing all the aspects to ensure I grasp the full scope.

Clarifying the Scene
I'm now zeroing in on the specific scene. It's focused on Shakyamuni Buddha teaching Shariputra about the Bodhisattva path within the Lotus Sutra. I am considering the setting, traditionally a mountain landscape representing Vulture Peak, as a serene backdrop. Key figures are Shakyamuni and Shariputra, and the listening monks.

Refining the Details
I'm now integrating the details of the scene. I am considering the serene mountain landscape and the core figures: Shakyamuni Buddha, Shariputra, and the listening monks. I'm focusing on the Dharmachakra Mudra for the Buddha and the attentive posture of Shariputra, emphasizing the act of "hearing" the teachings. I am now deciding on subtle visual cues that represent the light or sound of the teaching itself.

Visualizing the Composition
I am now focusing on the composition of the scene and its stylistic elements. I'm prioritizing the inclusion of Shakyamuni, Shariputra, and the monks. I am considering the "Dharmachakra Mudra," and now thinking of incorporating the symbol of the sutra itself to ground the illustration. I am also planning the placement of the artist's signature and seal. I'm refining the composition to emphasize the act of "hearing" the teachings. I am deciding how to depict the visual elements of light.

Defining the Visuals
I'm now fully immersed in the creation process, focusing on the visual aspects. I will begin by setting up the square format, and traditional style requirements. I'm focusing on Shakyamuni Buddha and the Dharma Chakra Mudra, with Shariputra and other monks in their places. I am thinking of adding additional elements to visually represent the teaching's purpose. I must remember the signature, seal, and minimal text details, and the aged aesthetic.

Verifying Scene Fidelity
I am now focused on evaluating the consistency of the illustration with the user's prompt. The goal is to make sure all elements align correctly, like the Japanese Buddhist art style and the Lotus Sutra scene. I need to make sure the key features, like Shakyamuni, Shariputra, the scroll and the Bodhisattva concept are present and coherent.

Confirming Artistic Alignment
I have finished cross-checking the illustration. It precisely captures all elements described, from the stylistic elements to the Lotus Sutra scene. I confirmed Shakyamuni's presence, along with Shariputra and the 'Hokkekyō' scroll. The Bodhisattva concept is also represented and the signature/seal are in the right places, and the exclusion of the other Buddhas is also confirmed.

Śāriputra! Some disciples of mine, who think that they are Arhats or Pratyekabuddhas, will not be my disciples or Arhats or Pratyekabuddhas if they do not hear or know that the Buddhas, the Tathāgatas, teach only Bodhisattvas.

Śākyamuni Buddha makes this declaration to his disciple Śāriputra in Chapter Two of the Lotus Sutra. When the Buddha says he only teaches Bodhisattvas, he does not mean that he excludes anyone from his teaching. It is only when we realize and develop our capacities as Bodhisattvas, beings who exist to benefit all beings, rather than being preoccupied with our own suffering, can we hear, practice and appreciate the Buddha Dharma.

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

WONS

A Good Medicine for the Diseases of People

[The “Hōkikō Gobō Shōsoku” is a letter written by Nichirō by order of Nichiren and it is addressed to Nikkō.]

A passage composed of the 28 Chinese characters that states, “The Lotus Sūtra is good medicine for the diseases of people of the Jambudvīpa; if a patient can hear this sūtra, his disease will disappear at once, and he will neither grow old nor die,” is taken from the “Medicine King Bodhisattva” chapter of the Lotus Sūtra. When Nichiren’s wet nurse who had a serious illness for about a year died, Nichiren Shōnin chanted this passage and placed it in her mouth with pure water. It revived her at once. Lord Nanjō Tokimitsu is not a high-ranking samurai but he is a devoted follower of Nichiren Shōnin. It would be better for him to pray to King Yama beseeching for help just this once, though it might be his karma from his previous life. As a way of curing his illness, please get a cup of pure water from the Shōnin River between 4 a.m. and 8 a.m., write down the 28 character passage of the “Medicine King Bodhisattva” chapter on a piece of paper and burn it. Then, please mix the ashes in the water and have him drink it.

Hōkikō Gobō Shōsoku, Letter to Nikkō, Writings of Nichiren Shōnin, Volume 5, Pages 217-218

AI Contribution, Daily Dharma

Daily Dharma for February 21, 2026

20260221-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini Thinking

Defining the Illustration Parameters
I'm now zeroing in on the core of the task: crafting a square illustration that captures the essence of a traditional Japanese Buddhist painting. The initial stage has been to deconstruct the request, focusing on the stylistic requirements, namely traditional Japanese Buddhist illustration. This will then be brought to life using the quote by Nichiren.

Refining the Composition's Details
I've been working to refine the composition further. I'm focusing on the details of the scene and figures now. I have specified Nichiren as a monk in robes and Shijō Kingo as a samurai, with a tearful expression. I'm visualizing Tatsunokuchi as a beach scene with waves, cliffs, and pine trees, all under a dramatic sky to convey the mood. The focus is on the moment just before the execution, to heighten the somber feeling. I have also determined the signatures that need to be in the painting.

Structuring the Narrative Scene
I'm now integrating all these elements. I am focusing on the balance between figures, the landscape, and the emotional weight of the moment. I will pay attention to the details, like Nichiren's expression and Shijō Kingo's tears, against the backdrop of Tatsunokuchi. I am now finalizing the details for the text and placement of the signatures.

Outlining the Core Elements
I'm now zeroing in on defining the central components for the illustration. I am concentrating on the precise depiction of figures. I must ensure the correct style of the traditional Japanese Buddhist illustration. I am planning the arrangement of Nichiren, Shijō Kingo, the horse, and the Tatsunokuchi setting. The focus is to capture the somber mood and the emotional bond between the characters.

Analyzing Visual Elements
I'm currently focused on evaluating the image's components and verifying they align with the user's description. The composition seems suitable, and I'm cross-referencing to ensure all key details, including the requested characters and setting, are present and accurate. The style is also a primary focus to ensure correct implementation of the prompt.

Confirming Request Compliance
I've confirmed the image's adherence to the prompt. It includes the required characters within the specified Tatsunokuchi setting. The signature and seal are present as instructed, and the artistic style aligns well with the prompt. I'm satisfied with the composition's fit to the description. I'm ready to move forward.

I still remember vividly how you accompanied me to Tatsunokuchi holding a horse by the bridle, and breaking into tears when I was about to be beheaded there. I will never forget this no matter how many lifetimes come and go. If by chance you should fall into hell, I will refuse the invitation of Śākyamuni Buddha to become a Buddha. Instead I will go into hell with you. If we both entered into hell, how could it be that we would not find Śākyamuni Buddha and the Lotus Sutra there?

Nichiren wrote this passage in his “Emperor Shushun” Letter (Sushun Tennō Gosho) addressed to his disciple Shijō Kingo. Despite the hardships he faced in his life, Nichiren never forgot the kindnesses shown to him by ordinary people. His great determination to save all beings made him fearless even were he to be threatened by the Buddha with the torments of the Hell realms for the sake of those dear to him. Nichiren knew that he would be able to find the Buddha anywhere, and that his devotion would overcome any difficulty.

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

WONS

Clouds of Ignorance

Thinking over these matters, I begin to dream while resting on my meditation cushion. Awakened by a deer crying for his mate, I realize that within me the moon of “the unity of the triple truth” and “threefold contemplation in a single thought” has been shining brightly all along, but because the moon was covered by the clouds of deep ignorance I have suffered through the cycle of birth and death in the nine realms until today. My present realization is:

Even the clouds of ignorance
That spread over us
Would be dispersed
By the winds of Mt. Sacred Eagle
Filled with the sound of the Sacred Dharma.

Minobu-san Gosho, Mt. Minobu Letter, Writings of Nichiren Shōnin, Volume 5, Page 131