All posts by John Hughes

Daily Dharma for February 20, 2026

20260220-ddi

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Gemini Thinking

Comprehending Nichiren's Words
I'm currently focused on the essence of Nichiren Daishonin's writing. I'm trying to distill the core meaning: the shedding of "tears of nectar" in the face of difficulties. My focus is on the themes of endurance and devotion to the Lotus Sutra, which seem central.

Visualizing Nichiren's Hardships
I'm now focusing on translating the textual elements into a visual concept. I've broken down the key components: Nichiren's figure, the challenging environment, and the symbolic "tears of nectar." The stylistic direction is set, moving toward traditional Japanese aesthetics to convey the themes of endurance and devotion. I am concentrating on the most critical details and how they interact.

Conceptualizing Nichiren's Image
I'm now focused on the specifics. I've broken down the composition into Nichiren, the challenging environment, and the symbolic tears. I'm aiming for a visual representation that emphasizes his humanity within the harsh natural setting, with a focus on the suggested birds and insects. I'm working to integrate the Japanese aesthetic elements such as misty, layered perspective.

Assessing The Composition
I am now focusing on evaluating the image's adherence to all constraints set forth in the prompt. I am currently examining how well the square aspect ratio and specific exclusion of figures are realized. I'm also analyzing the composition's conformity to stylistic requirements.

Verifying Compliance and Style
I'm currently focused on verifying the image meets all requirements. I see that it fulfills the constraints, including the square ratio and exclusion of specified elements. It also matches the stylistic guidelines. I'm satisfied that it's a good match for the prompt.

Tears keep falling when I think of the current unbearable hardships, but I cannot stop tears of joy when I think of obtaining Buddhahood in the future. Birds and insects chirp without shedding tears. I, Nichiren, do not cry, but tears keep falling. These tears are shed not for worldly matters, but solely for the sake of the Lotus Sutra. Therefore they should be called tears of nectar.

Nichiren wrote this as part of his letter to monk Sairen-bō in his Treatise on All Phenomena as Ultimate Reality (Shohō-Jissō Shō). For the sake of the Lotus Sūtra, Nichiren endured two harsh exiles, his house being burnt down, ambushes by soldiers with swords, being placed on the execution mat himself, and the persecution of his followers. Despite all these obstacles, he held true to the Buddha’s teaching in the face of all opposition. Most of us who practice the Lotus Sūtra today have lives of relative comfort. It is wonderful that we have Nichiren’s example. He was a human being just like us, and we too are capable of his faith and determination.

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

With Strong Faith and Deep Determination

In the past, the Buddha, wishing to repay his debt to his mother Māyā, ascended to the Trāyastriṃsá Heaven on the fifteenth day of the fourth month. While he was there, everyone in the five regions of India from the rulers and their great vassals down to the ordinary men and women, sobbed with grief and lamented that they had lost the Buddha, like parents who had lost a child or a child who had lost his parents. For a man to be separated from a beloved wife or a woman from her beloved husband is unbearable. How much more unbearable a separation from the World Honored One of Great Enlightenment with the thirty-two marks and eighty signs, whose color is a beautiful purple-gold, and whose voice is that of the kalaviṅka bird, and who teaches that all sentient beings will attain Buddhahood. Because of the Buddha’s deep loving-kindness and compassion, their longing and grief for Him is indescribable. It exceeded the grief of the beautiful lady imprisoned in the Shang-yang Palace; it exceeded the grief of the two daughters of Emperor Yao, O-huang and Nu-ying, when they were parted from Emperor Shun; and it exceeded the longing of Su Wu, banished for nineteen years to live amidst the snow in a foreign land.

A man who longed to see the Buddha took wood to make an image of Him, but he was unable to carve the likeness of even one of the thirty-two marks of the Buddha. At that time the great King Udayāna summoned Viśvakarman, the Carpenter, down from the Trāyastriṃsá Heaven and had a statue carved from red sandalwood. That statue went to meet the original Buddha in the Trāyastriṃsá Heaven, because of King Udayāna’s deep faith. This was the first statue of the Buddha carved in Jambudvipa.

Again, there was a wealthy man called Sudatta. When the Buddha was to descend to India from the Trāyastriṃsá Heaven on the fifteenth of the seventh month, Sudatta wished to build a monastery, but he had no land on which to build. Prince Jeta, a son of King Prasenajit, owned a park called Jetavana, which was about 40 li wide. This park was such a sacred and peaceful place that if one were to bring in swords or knives, the weapons would suddenly break apart. When the wealthy man Sudatta asked for the park in which to build his monastery, the prince told him he would only sell it for the amount of gold it would take to cover the park 4 inches thick. Sudatta agreed to the terms, but the prince then said, “I was only joking. The park is not for sale.” Sudatta insisted, “The Son of Heaven can never be double-tongued. How could you lie, even for a moment?” and he told King Prasenajit what had happened. “Prince Jeta is the heir to the throne. How could he lie even in jest,” wondered the king. Prince Jeta had no choice but to sell the park. Then, when the wealthy man Sudatta paid for the park with gold piled four inches thick as promised and joyfully prepared to build the monastery, Śāriputra appeared with a rope to demarcate the grounds of the park. Then he looked up into the sky and laughed. Sudatta remarked, “A great sage always has a dignified bearing and maintains self-control. What strange thing have you seen to cause you to laugh?” Śāriputra replied, “Because of this monastery you are building the six heavens of the realm of desire are each raising armies to contend for you. Each of the gods wants the person who is cultivating such a tremendously good deed in his own heaven. I am laughing at them for fighting. When your life-span is over, you will be born in the Tuṣita Heaven.” Thus the monastery was built and named the Jeta Grove Monastery.

On the night of the fifteenth of the seventh month when the Buddha was about to enter the temple, Indra and the King of the Brahma Heaven built three bridges made of gold, silver, and crystal from the Trāyastriṃsá Heaven. The Buddha entered by the middle bridge, while Indra on his left and the King of the Brahma Heaven on his right held a canopy over the Buddha. Behind the Buddha came the four categories of Buddhists (monks, nuns, laymen, and laywomen); the eight kinds of supernatural beings (gods, asura, dragons, gandharva, kiṃnara, garuda, mahoraga, and yakṣa); twelve hundred arhats led by Kāśyapa, Kātyāyana, Maudgalyāyana, and Subhūti; twelve thousand hearers; and eighty thousand bodhisattvas.

All the people of the five regions of India gathered together to collect oil to offer lamps. Some lit ten thousand lamps, some lit one thousand lamps, some lit one hundred lamps, and some could only light one lamp. Among them was an impoverished woman, incomparably poor. She had no clothes except a mat woven of wisteria vines even coarser than a rush mat. She ran about in all four directions but was not able to get enough money to buy enough oil for even a single lamp. She looked up to the sky and cried, thinking that if her tears had been oil they could have fueled one hundred or one thousand or ten thousand lamps or more.

After much thought, she cut off her own hair, and braided it into a wig that she sold to buy oil for a single lamp. Perhaps because her devotion was accepted by the Buddha and gods, the three treasures, the heavenly deities, and the terrestrial deities, her lamp alone was not extinguished by the fierce winds that blow at the destruction of the world and the beginning of a new world cycle, and it lit the way as the Buddha entered the Jeta Grove Monastery.

As you see, even if people are rich and give great treasures as alms, if their faith is weak they cannot attain Buddhahood. Even though people are poor, if they have strong faith and deep determination they will attain Buddhahood without fail.

Minobu-san Gosho, Mt. Minobu Letter, Writings of Nichiren Shōnin, Volume 5, Pages 133-135

Daily Dharma for February 19, 2026

20260219-ddi

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Gemini Thinking

Analyzing the Core Elements
I'm now focusing on breaking down the initial request. I've pinpointed the key aspects: a Japanese Buddhist illustration with a traditional painting aesthetic, in a square format. I'm carefully noting the need to avoid specific Buddha figures while incorporating a signature and seal. This detailed breakdown will guide the subsequent stages.

Defining the Visual Narrative
I'm now establishing the visual narrative. I'm focusing on how to represent the provided quote. I am considering a figure in a worldly setting, like a market or a court, yet with a spiritual element. I'm working to show the integration of wisdom into daily activities, and considering scrolls or other symbols to represent this. I'm focusing on the signature and seal, and have specified "双子座" (kanji signature) and "ジェミニ" (katakana) with a red square seal. I'm aiming for the best placement.

Refining the Composition
I am now focusing on refining the composition. I've chosen a central figure, a Bodhisattva-like layperson in a stylized marketplace, holding an open sutra scroll. I am incorporating golden light and lotus petals to connect to surrounding activities. I'm focusing on a traditional Japanese ink and mineral pigment style, and have decided to include muted, earthy tones with flashes of gold. I am ensuring that the layout is dynamic and interconnected. I am working on the supporting scenes now.

I am working on the supporting scenes, which include a merchant interacting with customers, a scholar studying diverse texts, and a figure advising an official. All scenes will be connected by the light emanating from the sutra scroll, representing the application of Buddhist teachings in daily life. I am being precise about the elements that I am using. I am giving specific attention to how the composition will create a sense of harmony. I am aiming for a design that will highlight clarity in the mundane world. I am planning on working on the signature and seal elements as well.

Visualizing the Concept
I'm now in the process of translating the brainstormed visual metaphors into a detailed prompt. I've focused on creating a traditional Japanese ink and mineral pigment painting with a dynamic composition. A central figure, a Bodhisattva-like layperson, will be shown in a stylized marketplace, holding a glowing sutra scroll. I am ensuring that the layout connects surrounding scenes: a scholar, an official, and a merchant, all touched by the light from the scroll. I will place the signature and seal appropriately.

Analyzing the Output's Fidelity
I'm verifying the correspondence of the generation to the user's initial instructions, focusing on the accurate translation of their request. The traditional Japanese aesthetic is rendered appropriately, and the core theme appears to have been captured, and the formatting looks correct. My evaluation will consider whether the key elements were addressed and presented as requested.

Confirming Image Alignment
I have finished checking the alignment between the user's prompt and the generation. The core concept appears to have been well-handled. The Japanese style seems correct and the signature and seal are correctly placed, according to my understanding of the user's request. My next step will be to finalize the image's presentation and prepare it to be forwarded to the user.

When they expound the scriptures of non-Buddhist schools, or give advice to the government, or teach the way to earn a livelihood, they will be able to be in accord with the right teachings of the Buddha.

Śākyamuni Buddha gives this explanation to Constant-Endeavor Bodhisattva in Chapter Nineteen of the Lotus Sūtra, describing those who keep the Lotus Sūtra. In this chapter, the Buddha shows that our practice of this Wonderful Dharma is not separate from our existence in this world. The purpose of the Buddha’s wisdom is not to escape to a better life, but to see our lives for what they are, and to use that clarity for the benefit of all beings.

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

The Gold In A Stinking Purse

Fascicle four of the Annotations on the Great Concentration and Insight says: Long ago in the great country Bima, a fox pursued by a lion tried to escape but fell into a dry well. The lion leapt over the well and ran on, but when the fox tried to climb out it couldn’t because the well was too deep. Many days passed and the fox was close to starving to death. At that time the fox cried out: “Woe is me! I am going to die miserably in this dry well. All things are impermanent. It would have been better if the lion had eaten me. Hail all the Buddhas of the worlds of the ten directions, with your wisdom see that my heart is pure and precious.”

At that time, the god Indra heard the fox’s cry and came down himself to lift the fox from the well and ask it to teach the Dharma. “This is all wrong,” said the fox. “The disciple is on top and the teacher is on the bottom.” All in the heavens laughed to hear this. When Indra, acknowledging that the fox was correct, nevertheless sat at his feet and asked him to preach, the fox said, “This is all wrong. It is not right for disciple and teacher to sit down together.” Thereupon Indra took all the heavenly robes and piled them up to make a tall seat for the fox, and again asked him to preach the Dharma. The fox said: “There are those who rejoice to live and hate death. There are those who rejoice to die and hate life.” Ignorant people are ignorant regarding future lives and so they hope to live and hate death. Good people know the truth of the workings of karma and retribution and so they hope to die and hate life. Indra learned this and followed the fox as his teacher. The Grand Master T’ien-t’ai said: “The Young Ascetic in the Snow Mountains offered himself to a demon to gain half a verse, Indra revered an animal and made him his teacher. No one discards gold because the purse stinks.” No matter how humble, if someone knows the True Dharma, you must not look down on them. Fascicle 8 of the Lotus Sūtra says: “Those who, upon seeing the keeper of this sūtra, blame him justly or unjustly, will suffer from white leprosy in their present life.” This means that if one accuses the practicer of the Lotus Sūtra of faults, whether one is justified or not, one will contract white leprosy in this life and in the next life will fall into the Hell of Incessant Suffering.

Minobu-san Gosho, Mt. Minobu Letter, Writings of Nichiren Shōnin, Volume 5, Page 132-133

Daily Dharma for February 18, 2026

20260218-ddi

Illustration by Google Gemini

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Gemini Thinking

Beginning the Conceptualization
I'm now analyzing the text to extract the central message, focusing on the key figures and concepts. I am trying to identify visual metaphors and symbols that represent Śākyamuni Buddha's statement to the Bodhisattvas. The goal is to convey the essence of Chapter 15 from the Lotus Sutra in a square illustration.

Defining the Scene
I've clarified the compositional elements. The focus is now on positioning Śākyamuni Buddha and the emerging Bodhisattvas within the square format. I'm considering a central Buddha figure, seated on a lotus, and a multitude of Bodhisattvas rising from a cracked earth below. The Bodhisattvas are to have traditional attire, with the overall environment being mystical and earthy. The signature is in the corner.

Refining the Composition
I am now focusing on refining the composition. I've broken down the request into key stylistic and content components. The central idea involves Śākyamuni Buddha, a seated figure on a lotus, and numerous Bodhisattvas rising from the earth. The setting is to be mystical, with a color palette using earth tones, gold, and muted blues. I also need to incorporate flowing lines to invoke a spiritual feel and the signature in the corner.

Verifying Imagery Details
I am now meticulously checking the generated depiction of the scene against the user's initial instructions, particularly focusing on the specific characters and artistic style specified in the prompt. I am currently examining the accuracy of the details, and cross-referencing these components with the original request.

Analyzing Scene's Correspondence
I am confirming that the scene corresponds precisely to the instructions provided. The visual elements, characters, and style all align directly with the user's initial specifications, including the exclusion list. The format is accurate, and the requested artistic details are present.

No, good men! I do not want you to protect or keep this sūtra because there are Bodhisattva-mahāsattvas sixty thousand times as many as the sands of the River Ganges in this Sahā-World. They are each accompanied by attendants also numbering sixty thousand times as many as the sands of the River Ganges. They will protect, keep, read, recite and expound this sūtra after my extinction.

Śākyamuni Buddha makes this declaration to the uncountable number of Bodhisattvas who came from other worlds to hear him teach in Chapter Fifteen of the Lotus Sūtra. These Bodhisattvas had responded to the Buddha’s question of who would keep and expound the Buddha’s highest teaching after his death. They promised that they would remain in this world of conflict and fulfill the Buddha’s request. After the Buddha spoke these words, an unimaginable number of Bodhisattvas came up from underground and paid their respects to the Buddha. We can understand this story, and this image, as showing that our capacity for enlightenment, and our ability to benefit all beings, is already within us. We do not need an outside agent to give these to us.

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

Depend Upon the Sūtras the Buddha Expounded

[A letter of explanation written by Nichiren Shōnin on behalf of Shijō Yorimoto on the 25th of the sixth month in the third year of the Kenji Period (1277) and submitted to the lord of the Ema Family.]

“Master Shan-tao of the Pure Land Sect in China said that ten out of ten or 100 out of 100 of those who practice the nembutsu will be able to be reborn in the Pure Land through the power of the original vow of Amitābha Buddha, but not even one out of one thousand persons who practice the holy way gate such as the Lotus Sūtra will be able to attain Buddhahood. Priest Hōnen of the Pure Land Sect in Japan urged his followers to abandon, close, set aside, and cast away the Lotus Sūtra, the holy way gate, calling the practicers of the holy way gate a school of bandits. Zen Sect insists that Śākyamuni Buddha’s enlightenment is transmitted to practicers only through the mind (special transmission without scriptures or preachings) and therefore sūtras are needless.

“The Buddha Śākyamuni, however, states in the Lotus Sūtra: ‘I will reveal the Truth after an extensive period of preaching.’ The Buddha of Many Treasures also verified that ‘The Sūtra of the Lotus Flower of the Wonderful Dharma is entirely true,’ and the Buddhas manifested in the worlds throughout the universe also testify to the truth of the Lotus Sūtra. Which should we believe between the two: Śākyamuni Buddha, the Buddha of Many Treasures and the Buddhas manifested in the worlds throughout the universe who prove the truth of the Lotus Sūtra, or Grand Master Kōbō of Japan who says that the Lotus Sūtra is a sūtra of no merit? Śākyamuni Buddha, the Buddha of Many Treasures, and the Buddhas manifested in the worlds throughout the universe preach that all without exception will attain Buddhahood through the Lotus Sūtra, but Master Shan-tao and Priest Hōnen said that no one could attain Buddhahood through the Lotus Sūtra, which we should abandon, close, set aside, and cast away. The teachings of Śākyamuni Buddha, the Buddha of Many Treasures, and the Buddhas in manifestation and those uttered by Master Shan-tao and Priest Hōnen are as different as fire and water or clouds and mud. Which should we put faith in? Which should we discard? …

To this question put forth by Sammi-kō, Ryūzō-bō replied: “How can I have any doubts about such senior masters as Shan-tao and Hōnen? The only thing that ordinary monks like myself can do is to pay respect and venerate them.”

Then, Sammi-kō asked again: “Such an answer does not sound like your teaching. Although everybody respects their senior masters or men of virtue, it is willed in the Nirvana Sūtra, preached last by the Buddha, ‘Rely on the dharma, not on masters.’ This means that since masters may have made mistakes, one should depend upon the sūtras the Buddha expounded.

Yorimoto Shinjō, Yorimoto’s Letter of Explanation, Writings of Nichiren Shōnin, Biography and Disciples, Volume 5,
Pages 104-105

Daily Dharma for February 17, 2028

20260217-ddi

Illustration by Google Gemini

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Kanji Translation
Main Text (Top Left):

薬王 (Yakuō): Medicine King (Addressing the Bodhisattva Medicine King)

一言の毀訾 (Hitokoto no kishi): A single word of abuse (or reproach/slander)

妙対对... (Myō tai tai...): Against the Wonderful [Dharma]... (This appears to be a truncated phrase, visually representing the act of disparaging the "Wonderful Dharma" of the Lotus Sutra).

Floating Character (Center, from the monstrous cloud):

毀 (Ki): Abuse / Reproach / Slander (This single character embodies the "evil intent" and the act of disparagement mentioned in the text).

Text on the Scroll (Held by the monk):

妙法蓮華経 (Myōhō Renge Kyō): The Lotus Sutra (Full title: Sūtra of the Lotus Flower of the Wonderful Dharma).

Artist Signature & Seal (Bottom Right):

Signature: 双子座 (Futagoza) - Gemini (the zodiac sign).

Red Seal: The stylized characters inside are katakana reading ジェミニ (Jemini), which also translates to Gemini.

Gemini Thinking

Considering the Buddhist Iconography
I am now deeply focused on the provided quote from the Lotus Sutra, specifically Chapter 10, to understand the core message. I'm analyzing the grave sin of criticizing those who engage with the sutra, even beyond speaking ill of the Buddha. I'm working to extract the central concepts that must be represented visually within the context of Japanese Buddhist iconography.

Developing the Visual Concept
I'm now zeroing in on the visual metaphor. My goal is to create a square composition that effectively contrasts the act of sutra reading with the harm of criticism. The central element will be a monk and a layperson absorbed in their study. The intent is to evoke a sense of reverence. The opposing element will be a shadowy figure, to represent the harm of speaking ill of those engaged with the sutra.

Refining the Composition
I am now structuring the scene, focusing on the monk and layperson, who face away from the viewer. The goal is a study in contrasts: reverence and the harm of criticism. I am refining the visual metaphor for the evil act, making sure the dark character representing "abuse" is visually impactful. I am considering the use of dark, jagged kanji to represent the word, causing visual cracks.

Analyzing Visual Concordance
I'm evaluating the generated illustration against the user's specific request and requirements. I find that it aligns with the instructions, effectively representing the core elements of the Buddhist iconography. The characters and text within the image appear to have been accurately incorporated based on the request.

Confirming Conceptual Integrity
I've confirmed the image's adherence to the original specifications. The key elements, including the central Buddha, monk, layperson, and sutra text, are accurately portrayed. I observed the clear depiction of the metaphor for reproach, utilizing the '毀' kanji and dark cloud, as well as the artist's signature and seal. I'm satisfied that this meets the brief, so I'm moving it forward.

Medicine-King! An evil man who speaks ill of me in my presence with evil intent for as long as a kalpa is not as sinful as the person who reproaches laymen or monks with even a single word of abuse for their reading and reciting the Sūtra of the Lotus Flower of the Wonderful Dharma.

Śākyamuni Buddha declares this sentence in Chapter Ten of the Lotus Sūtra. Since the Buddha is secure in the enlightenment he enjoys, anyone attacking him either questioning his enlightenment or disparaging his wisdom is only going to make themselves look bad. Attacking someone just starting on the path towards enlightenment could lead them to doubt the value of the Wonderful Dharma. It is beneficial to remember these words, not just for what they mean about how we treat others, but for how we treat ourselves.

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

Believe the Dharma, Not the Man

[In the sixth month of the 3rd year of the Kenji era (1277), Nichiren Shōnin wrote a letter of explanation in place of Inaba-bō Nichiei, a disciple of Nichiren, and submitted it to Nichiei’s father, Shimoyama Hyōgo Gorō Mitsumoto.]

I am sorry to trouble you, but I would like to inform you of one thing in advance. This master, Nichiren Shōnin, is the one and only master of virtue and is a sagacious and irreplaceable person. If the worst should happen, you would surely be sorry. It is rather foolish for you not to believe in him just because the people in the world do not believe in him. When the rulers of Japan put faith in him, everyone will believe in him. It will be useless for you to believe in him then. Putting faith in him because the rulers of Japan believe in him means that you believe in a man, not the dharma. The people in the world think that children must obey their parents, retainers obey their lord, and disciples follow their masters, but this is a wrong idea held by those who know neither Buddhism nor non-Buddhist teachings. In the Filial Piety, a Confucian classic, it is stated that when a father makes a mistake, his son should remonstrate with him, and that when a lord makes a mistake, his retainer should admonish him. In Buddhism it is preached: “He who enters Buddhism, discarding the favors of his parents, is one who truly compensates the favors received from his parents.”

Prince Siddhārtha, who had become a monk against the wishes of His father, King Suddodana, became the Buddha to lead His parents to Buddhahood. In the end He became the most filial son in the world. Filial Pi-kan was killed for remonstrating his father, King Chou Hsin of the Yin Dynasty, and left behind the fame of being a man of wisdom. If you disregard what I say as words of a petty monk, I am sure you will regret it not only in the present life but also in the one to come.

Shimoyama Goshōsoku, The Shimoyama Letter, Writings of Nichiren Shōnin, Volume 5, Page 99

Daily Dharma for February 16, 2026

20260216-ddi

Illustration by Google Gemini

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Gemini Thinking

Analyzing the Concept
I'm currently working on understanding the initial request. I've broken it down to identify the subject as a Bodhisattva, possibly Mañjuśrī, depicted in a peaceful Japanese Buddhist style. I'm focusing on the action the figure will be engaged in.

Defining Visual Elements
I've clarified the key visual elements, like Mañjuśrī's attributes: the sword and scroll, the lion mount. I'm focusing on the serene expression and the inclusion of a transparent element, such as a reflecting orb, to represent "seeing things as they are." Also, I'm working to integrate a misty garden for a peaceful setting. I'll maintain a muted color palette to ensure a tranquil aesthetic. I'll add the signature and seal.

Formulating the Prompt
I've taken the concepts and broken down the illustration into component elements. I'm focusing on crafting a comprehensive prompt. I am concentrating on specifying the Japanese Buddhist painting style, the subject with attributes and a serene expression, the tranquil setting with a reflective element, the square format, and signature inclusion.

Assessing Prompt Adherence
I'm verifying the generated output's alignment with the instructions provided, focusing on key elements like Mañjuśrī's representation and the presence of the lion, sword, and scroll. I'm checking for the intended square format and the appropriate visual mood.

Evaluating Visual Concordance
I've confirmed the square aspect ratio and traditional Japanese illustration style, with the core elements (Mañjuśrī, lion, sword, scroll) all present. I'm satisfied that the visual mood and metaphorical representation of the bubbles are appropriate. The kanji signature

Mañjuśrī! What are the proper practices the Bodhisattva-mahāsattva should perform? He should be patient, mild and meek. He should not be rash, timorous, or attached to anything. He should see things as they are. He should not be attached to his non-attachment to anything. Nor should he be attached to his seeing things as they are. These are the proper practices the Bodhisattva-mahāsattva should perform.

Śākyamuni Buddha makes this explanation to Mañjuśrī in Chapter Fourteen of the Lotus Sūtra in which he describes the peaceful practices of a Bodhisattva. When we learn to see things differently, we act differently. Conversely, when we act in ways that are not beneficial, either to ourselves or to others, it is an indication that we are not seeing things as they are. At the same time, not being attached to non-attachment helps us realize that becoming enlightened is a process, and that becoming proud of our achievements is another indication of being stuck and not seeing things as they are.

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

Nichiren’s Vow

As you know, I, Nichiren, have been eagerly studying since childhood and began praying when I was twelve years old to Bodhisattva Space Repository to help me to become the wisest in Japan. The reason for my prayers was complicated, too complicated to explain here in detail. Later I first began to study the doctrines of the Pure Land and Zen Sects. Then I studied the doctrines of the Tendai and Shingon Sects on Mt. Hiei, at the Onjōji Temple, and on Mt. Kōya. I further studied the doctrines of the various sects at temples in Kyoto and the provinces, but these studies did not serve to clear up the doubts I had in mind about Buddhism.

In my initial prayer I made a vow that: I would not favor any particular sect; I would adopt whichever sect that provided the evidence of being the teaching of the Buddha and was reasonable; I would be guided solely by the sūtras, not by the commentators in India, translators and minister-masters in China; I would not be afraid, regarding the doctrines of Buddhism, of even being punished by a king, not to mention persecutions by the people below him; I would not follow instructions against the Buddha’s teachings even if they were given by my parents, teacher and elder brother; and that I would speak up honestly as expounded in the sūtras regardless of whether or not people believed in me.

Ha Ryōkan-tō Gosho, A Letter Refuting Ryōkan-bō and Others, Writings of Nichiren Shōnin, Volume 5, Page 62