The Practice

The book A Phrase A Day includes this short quote from Nichiren’s Tsuchi-ro Gosho:

Tomorrow, I (Nichiren) will be exiled to Sado Island. In this cold evening, I am thinking of you in the cold dungeon.

My thought is that you have read and practiced the Lotus Sutra with your heart and action, which would save your parents, brothers, sisters, relatives, ancestors, and everyone around you. Other people read the sutra vocally without feeling in their hearts. Even though they might read it with their heart, they do not experience it as the sutra teaches. Compared with them, you are very precious since you are practicing the sutra in your actions, voices, and spirit.

That letter was written by Nichiren in 1271. Today, at the beginning of 2026, what does it mean to practice the Lotus Sutra “in your actions, voices, and spirit”?

During a group discussion following a Sunday service with Rev. Ryuei McCormick’s Nichiren Buddhist Sangha of the San Francisco Bay Area I expressed my unease with today’s focus of personal practice in Nichiren Buddhism. I didn’t express myself well. I couldn’t put into words what was bothering me.

Reading The Sixth Patriarch’s Dharma Jewel Platform Sutra pointed in the general direction of what I feel is the missing component of Nichiren Buddhism. As Rev. Heng Sure and Professor Martin Verhoeven explain in their Translators’ Introduction:

According to the Sixth Patriarch, the Dharma teachings are something to be used (yong用), applied and tested. Indeed, for the Master, the Way must be walked, or it is not the Way. The dao/Way elucidated by the Sixth Patriarch is not a religious doctrine, nor an ontological or metaphysical Truth, nor even a faith to espouse. The Chinese character for the Way (dao 道) denotes movement, literally ‘walking’ (是,辶), suggesting the Way is existentially real, found underfoot. As the word implies, a ‘path’ is for walking, and reveals itself only in and through the traversing of it, in vivo not a priori. Confucius may have been hinting at something similar in saying, “It is the person that can make the Way great, and not the Way that can make the person great.” (Analects 15:28)

Thus the Way is discovered concretely, not surmised abstractly. Stationary, there appears to be no Way, but as soon as one walks, the road appears. Hence the saying, “From afar, the mountain appears unscalable, but when you get to the bottom of the mountain, there is always a way.” This point cannot be overemphasized: without ‘walking’ there is no Way. Without serious and sincere engagement, the true path falls away and disappears from sight; or perhaps worse, descends into a dead end of clever debate, (ko tou chan口頭禪; lit. ‘head-mouth zen’).

The Sixth Patriarch's Dharma Jewel Platform Sutra, pxx-xxi

How do we use the Lotus Sutra in our daily lives? How do we avoid the clever debate outside and realize concretely the way to Buddhahood in our lives?

Again Rev. Sure and Professor Verhoeven explain:

The Dharma comes alive only in the actual taking up of the practice of “going back to the root; returning to the source” (yong 用). Practice activates meaning; cultivation and understanding mutually respond. Without serious practice, insight recedes and dims. The texts can then seem meaningless and obscure, or become ritualized cant and doctrinal abstraction (ti體). The philosophical purpose of a sutra is to stimulate and guide a journey. The sutra is a map to be opened up and referenced again and again while traversing what otherwise might be terra incognita – the unfamiliar land of one’s own mind. As The Dhammapada points out:

No one frees you but yourself.
No one can, and no one may.
You yourself must walk the Path:
Buddhas only show the way.

Time and again, the Master urges his followers not to seek outside their own nature for bodhi. Any external grasping, even at that teaching itself, is pointless because “basically there’s not one thing” (ben lai wu yi wu 本來無一物). Hence, all teachings can only serve as upaya (fang bian方便) or liberative techniques.

The Sixth Patriarch's Dharma Jewel Platform Sutra, pxxxv-xxxvi

In Nichiren’s letter, Shō Hokke Daimoku-shō, Treatise on Chanting the Daimoku of the Lotus Sūtra, he writes:

QUESTION: What should a believer of the Lotus Sūtra regard as the Honzon (the Most Venerable One)? How should one perform the Buddhist rites and practice daily training?

ANSWER: First of all, the Honzon could be eight fascicles, one fascicle, one chapter or the title alone of the Lotus Sūtra. This is preached in the “Teacher of the Dharma” and “Divine Powers of the Buddhas” chapters. Those who can afford to may have the portraits or wooden statues of Śākyamuni Buddha and the Buddha of Many Treasures made and placed on both sides of the Lotus Sutra. Those who can further afford to may make the portraits or wooden statues of various Buddhas all over the universe or Universal Sage Bodhisattva. As for the manner of performing the rites, standing or sitting practices must be observed in front of the Honzon. Outside the hall of practice, however, one is free to choose any of the four modes of acts: walking, standing, sitting and lying down. Next, regarding the daily practices, the daimoku of the Lotus Sūtra should be chanted, “Namu Myōhō Renge Kyō.” If possible, a verse or phrase of the Lotus Sūtra should respectfully be read. As an auxiliary practice one may say a prayer to Śākyamuni Buddha, the Buddha of Many Treasures, the numerous Buddhas throughout the universe, various bodhisattvas, Two Vehicles, Heavenly Kings, dragon gods, the eight kinds of gods and demigods who protect Buddhism as one wishes. Since we have many ignorant people today, the “3,000 existences contained in one thought” doctrine may be difficult to contemplate from the beginning. Nevertheless, those who wish to study it are encouraged to do so from the start.

Writings of Nichiren Shōnin, Faith and Practice,
Volume 4, Page 20

The Sixth Patriarch, in discussing the practice of chanting maha-prajña-paramita, points out the trouble with mindlessly chanting.

Good and Wise Friends, people chant “prajña” all day long without realizing the prajña of their own essential nature. Just as talking about food will not satisfy hunger, so too only talking about emptiness, even for myriad eons, will give you no insight into your own nature – ultimately it is of no benefit.

Good and Wise Friends, Maha-prajña-paramita is a Sanskrit phrase which means “great wisdom that goes to the other shore.” This must be practiced with the mind; not merely recited by the mouth.

Verbal repetition without mental cultivation is like a fantasy, a hallucination, like dew drops and a lightning flash. If, however, while the mouth recites, the mind practices, then both mind and mouth are in accord. One’s own essential nature is Buddha; apart from this nature there is no other Buddha.

The Sixth Patriarch's Dharma Jewel Platform Sutra, p23-24

When I sit in front of my altar and recite Hoben Pon and Jiga Ge before my Mandala Gohonzon, I fight to maintain my attention. As my mind wanders, I slip into rote recitation. I struggle to make reciting the sutra and chanting the Daimoku meaningful in my life. How do I apply this?

The Translators’ Introduction offers this reply:

In the mind-ground approach of the Sixth Patriarch, the scriptures of sutras, shastras, and vinaya (the ‘three baskets, or Tripitaka) are to be used, not simply worshipped. Translating Dharma (fa法) as “Law” completely misses this key point: the Dharma teachings are tools for self-discovery, not canonical writ. They are intended as mirrors of and for the human mind, as catalysts for change, not merely as icons of devotion or incantatory prayer.

The Sixth Patriarch's Dharma Jewel Platform Sutra, pxxiii-xxiv

The Sixth Patriarch’s Dharma Jewel Platform Sutra
The Practice
NEXT: Practice Beyond Reciting
Seeking the Pure Land in the Wrong Place
Our Inherent Buddha Nature

Hell of a Time

Hell of Regeneration

The life span of these sinners in this hell is as follows. Suppose 50 years in the human world is equal to one day in the Four-king Heavens, the first heaven in the realm of desire, where heavenly beings’ life span is 500 years. Suppose 500 years in the Four-king Heavens correspond to one day in the Hell of Regeneration. Sinners in the Hell of Regeneration live as long as 500 years. …

Hell of Black Ropes

One hundred years in the human world correspond to one day in the Heaven of the Thirty-three Gods, the second heaven in the realm of desire, where the life span of heavenly beings is 1,000 years. If 1,000 years in this Thirty-three Heaven are equal to one day in the Hell of Black Ropes, the life span of those sinners who fell into the Hell of Black Ropes is 1,000 years. …

Hell of Crushing

Suppose 200 years in the human world correspond to a day in the Heaven of Yama, the third heaven in the realm of desire, where heavenly beings live for 2,000 years. If 2,000 years in this Heaven of Yama are equal to one day in the Hell of Crushing, the life span of sinners in this hell is 2,000 years. …

Hell of Wailing

Regarding the life span of the sinners in this Hell of Wailing, one day in the human world corresponds to 400 years in the Tuṣita Heaven, the fourth heaven in the realm of desire, where dwellers live as long as 4,000 years. Suppose 4,000 years in this Tuṣita Heaven are equal to one day in the Hell of Wailing, sinners in this hell have to suffer as long as 4,000 years. …

Hell of Great Wailing

Suppose 800 years in the human world equals to one day in the Creating Enjoyment Heaven, the fifth heaven in the realm of desire, where inhabitants live for 8,000 years. Suppose one day in this hell corresponds to 8,000 years in the Creating Enjoyment Heaven, those sinners who fall to the Hell of Great Wailing have to suffer for as long as 8,000 years. …

Hell of Burning Heat

Suppose 1,600 years in the human world correspond to one day and night in the Paranirmitavaśavartin Heaven, the sixth heaven in the realm of desire, where the life span of heavenly beings is 1,600 years. Suppose 1,600 years in the Paranirmitavaśavartin Heaven are equal to one day and night in the Hell of Burning Heat, the sinners in this hell live as long as 1,600 years. …

Hell of Great Burning Heat

The Hell of Great Burning Heat, the seventh of the eight major hells, is located beneath the Hell of Burning Heat, and its length and breadth are the same as the Hell of Burning Heat. However, the torment in this hell is ten times more severe than all the torments of the six hells mentioned above combined. The life span of sinners in this hell is half the length of a medium kalpa. …

Hell of Incessant Suffering (Avīci Hell)

The life span of sinners in this hell is one medium kalpa. Suppose the length of time equivalent to the period during which a man’s life span decreases by one in 100 years from infinite to ten years, and then increases from 10 to 80,000 at the same rate. The time required for this decrease and increase is called a small kalpa, twenty of which constitute a medium kalpa. Those who fall into this Hell of Incessant Suffering are subjected to the great torment of this worst hell for this long period of time.

Ken Hōbō-shō, A Clarification of Slandering the True Dharma, Writings of Nichiren Shōnin, Doctrine 3, Pages 98-103

 

Daily Dharma for January 20, 2026

20260120-ddi

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Symbolism of Rooster, Snake and Pig
Based on Buddhist iconography, the rooster, snake, and pig collectively represent the Three Poisons (known as triviṣa in Sanskrit). These are considered the fundamental root causes of suffering (dukkha) that keep sentient beings trapped in the endless cycle of rebirth (samsara).

Here is a breakdown of the symbolism for each animal:

The Rooster: Symbolizes Greed (raga), which includes desire, attachment, and craving. The rooster is chosen for its perceived insatiable nature, constantly pecking for food. It represents an endless thirst for pleasure, possessions, and experiences, and the inability to be content.

The Snake: Symbolizes Anger (dvesha), which includes hatred, aversion, and aggression. The snake is chosen for its venomous strike, representing the impulse to lash out at, reject, or destroy whatever is unpleasant, threatening, or dislikes. It is the opposite of greed—a pushing away rather than a pulling toward.

The Pig: Symbolizes Ignorance (moha), which includes delusion, confusion, and a lack of understanding of the true nature of reality. The pig, often depicted rooting around in mud with its eyes obscured, represents mental blindness. It is the fundamental ignorance of believing in a separate, permanent self, which is the root from which greed and anger arise.

In traditional depictions like the Tibetan "Wheel of Life" (Bhavachakra), these three animals are shown in the very center, often biting each other's tails. This circular arrangement illustrates how they are interconnected and continuously feed into one another, perpetuating the cycle of suffering. Ignorance leads to greed and anger, and acting on greed and anger further deepens ignorance.

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Comprehending the Request
I'm focusing on the user's need for a square illustration with specific Japanese Buddhist elements. The key is to exclude certain figures like Amida Nyorai and Dainichi Nyorai, and center on a passage from the Lotus Sutra.

Visualizing the Concepts
I'm now working to translate the concepts into visual elements. I've decided to include figures of both Fugen and Shakyamuni Buddha. I'm considering how to visually represent qualities like "correct memory" and "powers of merits and virtues" within the illustration, avoiding overly literal interpretations. I'm focusing on the overall composition and symbolic elements within the Japanese Buddhist iconography style.

Defining Visual Elements
I've determined the key visual elements to incorporate: Fugen Bodhisattva and Shakyamuni Buddha. I'm visualizing symbolic representations for "correct memory," "merits," "the three poisons," and "contentment" to convey the Lotus Sutra's passage. I will be sure to incorporate a serene Japanese landscape. I'm focusing on the composition.

Constructing a Visual Narrative
I'm now integrating the elements into a cohesive scene. I have defined the central figures as Shakyamuni Buddha and Fugen Bodhisattva, alongside a practitioner. Symbolic representations of key qualities and the setting are also decided. The style is Japanese Buddhist iconography, and I will be using a square format.

Composing the Illustration
I'm synthesizing the visual elements, including Shakyamuni, Fugen, the practitioner, and symbolic representations. I've detailed the landscape and the minimalist kanji and text inclusion. The square format is central, and I'm refining the details and aesthetic to create the final composition.

Checking Composition Details
I'm currently verifying the details of the illustration against the initial request. It appears to accurately capture the key elements and style. The composition, as I assess it, addresses the core concepts outlined initially. The focus is on ensuring adherence to the intended subject matter.

Validating Style and Content
I am now thoroughly confirming the illustrated piece aligns precisely with the given criteria and style guidelines, particularly the Buddhist themes and specific characters, as well as the 'three poisons' symbolism. I've noted the absence of prohibited figures, which is a major factor, and the limited text. The goal is complete alignment with the initial brief.

He will have correct memory and the powers of merits and virtues. He will not be troubled by the three poisons. He will not be troubled by jealousy, arrogance from selfishness, arrogance from self-assumed attainment of enlightenment, or arrogance from self-assumed acquisition of virtues. He will want little, know contentment, and practice just as you do.

The Buddha gives this description of the person who keeps and practices the Lotus Sūtra to Universal-Sage Bodhisattva (Fugen, Samantabhadra) in Chapter Twenty-Eight of the Lotus Sūtra. Powers of merits are what we have when we see things clearly. The three poisons are greed, anger and ignorance. The practice of Universal-Sage is to support and encourage everyone who takes on this difficult practice of the Wonderful Dharma. This is another Bodhisattva who gives us an example of how we can live in this world of conflict.

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

The Sixth Patriarch’s Dharma Jewel Platform Sutra

sixth-patriarch's-dharma-jewel-platform-sutra-bookcoverIt is a family tradition in my home that on New Year’s Day you do only those things you want to do throughout the coming year. No housework. No laundry. Just relax and enjoy. This year I spent several hours in my office recliner reading The Sixth Patriarch’s Dharma Jewel Platform Sutra.

I finished this 226-page bilingual  English-Chinese edition recently and now I want to post stuff I found interesting. Here’s the book summary from the Buddhist Text Translation Society’s website:

The knowledge and vision of the Buddha is just your own mind; there is no other Buddha. Such is the teaching of Master Huineng (638-713), the most important and most revered figure in the Chan (Zen) School of East Asian Buddhism.

Master Huineng left no written record, but his students compiled accounts of his public lectures and one-on-one exchanges, together with the dramatic story of his life. The resulting volume was “Liu zu fa bao tan jing”; The Sixth Patriarch’s Dharma Jewel Platform Sutra, sixth, because Master Huineng is counted as the sixth generation of patriarchal succession from the first Chan patriarch Bodhidharma. Master Huineng’s Platform Sutra is so highly regarded in Buddhist Asia that it is called a Sutra, a term otherwise reserved for texts spoken by the Buddha himself.

In presenting this entirely new English translation of The Sixth Patriarch’s Dharma Jewel Platform Sutra, the editors, Professors Reverend Heng Sure and Martin Verhoeven of Dharma Realm Buddhist University, have aimed above all to bring across into English Master Huineng’s plain-spoken, forthright style.

As Professor Verhoeven writes, “Readers inclined to see Buddhist writings as abstruse metaphysical treatises will find The Platform Sutra refreshingly artless and spare. Those expecting a sutra to delve into the supernatural and otherworldly will be surprised at how down-to-earth and here-and-now this text is. The Platform Sutra is humanistic to its core.”

As Master Huineng says in a verse, ‘The Buddha Dharma is right here in the world, there is no awakening apart from this world.’ The essence of the Sixth Patriarch’s philosophy is that all beings have the buddha-nature and all can become a Buddha. Full awakening is not a future state or a distant place, but exists right here within your own mind, directly and immediately available. The text presents a powerful and resounding vision of unbounded human potential waiting to be fully realized if only we can see it.

The translators of this new edition are also important to me. In reading Buddhist texts I find those texts written by or translated by Buddhist adherents offer the best insights, especially when compared to dry, academic presentations of the teaching.

Here are biographies of translators Rev. Heng Sure and Martin Verhoeven from The Path Within, a 2024 collection of Dharma talks by teachers of the Dharma Realm Buddhist Association.

Reverend Heng Sure, Ph.D., ordained as a Buddhist monk in the Chinese Mahāyāna tradition at the City of Ten Thousand Buddhas, Talmage, California, in 1976. Born in Toledo, Ohio, he was finishing his M.A. in Oriental Languages at the University of California, Berkeley, when he met his teacher, the late Chan Master Hsuan Hua (1918-1995). After his ordination, he commenced a “Three Steps, One Bow” pilgrimage dedicating his efforts to world peace traveling up the California coast highway from South Pasadena to Ukiah, a distance of over six hundred miles in two years and nine months.

Rev. Sure regularly leads lectures, seminars, and retreats in a variety of venues on at least three continents a year. He is fluent in Mandarin, and also speaks French and some Japanese. He is involved in work on a new translation of the Avataṃsaka Sūtra and has recently completed a translation of the Sixth Patriarch Sūtra with Dr. Martin Verhoeven.

He has been an active participant in the interfaith community for many years and is also an accomplished musician and guitarist, translates traditional liturgical Buddhist music from Chinese and has written many Buddhist songs. He currently serves as Director of the Berkeley Buddhist Monastery, the Chair of the Dharma Realm Buddhist Association, and holds a Doctorate in Religion from the Graduate Theological Union, Berkeley, California.
(Pages 157-158)

Martin Verhoeven, Ph.D., is currently Professor of Buddhist Classics at Dharma Realm Buddhist University, as well as Adjunct Professor of Comparative Religion at the Graduate Theological Union, in Berkeley. He also teaches a weekly translation and meditation series at the Berkeley Buddhist Monastery that is open to the community and broadcast online.

Dr. Verhoeven’s background includes both academic study of history and various philosophical traditions and Buddhist practice. He was a Visiting Scholar at Stanford under a Ford Fellowship in the 1970s. In 1976, he met and trained under the Venerable Master Hsuan Hua, becoming a monk (with the name Heng Chau) in 1977, and took full ordination in 1979.

His study with Master Hua took him to monasteries around the world. It also led him to undertake a three-year, 800-mile bowing pilgrimage up the California coast with Reverend Heng Sure from 1977 to 1979. After 18 years as a monk, Dr. Verhoeven returned to lay life, but continued to study and teach Buddhism and related topics in the u.s. as well as in Asia, Europe, and Canada. He completed his Ph.D. at the University of Wisconsin-Madison on the American encounter with Asian religions. His particular areas of interest are the historical teachings of Buddhism, the Euro-American encounter with Asian religions, and the process of religious acculturation.
(Pages 162-163)

I was especially appreciative of the translators’ efforts to interpret the Chinese in a way that goes beyond the original meaning to also capture the original intent. Here’s how the translators  explained this work in the book’s Translators’ Introduction.

ON INTERPRETATION

The fish trap exists because of the fish. Once you’ve gotten the fish you can forget the trap. The rabbit snare exists because of the rabbit. Once you’ve gotten the rabbit, you can forget the snare. Words exist because of meaning. Once you’ve gotten the meaning, you can forget the words. Where can I find a man who has forgotten words so I can talk with him?
-Chuangzi

In language it is simply required that it convey the meaning,
-Analects of Confucius

In working with a classical text of this nature, our ability to get at the meaning is handicapped if we ask only, “What is the author(s) trying to say?” or “What do the words mean?” This can easily turn into a pedantic exercise of dictionary searching for equivalents in the target language, assuming they can be found. Moreover, an overly literal rendering that nails down the letter can stifle or even lose the spirit of the text. Here, we achieve a superb focus but the field has become irrelevant.

But if we also ask “What is it/he trying to do?” and “What are we being led to feel?” we enlarge the scope of the inquiry, and broaden the contextual field to include the emotive and existential thrust of the text. Here we are not just reading the text, but reading ourselves as we are challenged and changed through a serious engagement with the text.

To this end, we have found extremely helpful the following:

First, the brilliant work of the French classicist, Pierre Hadot. His insights into early Western philosophical texts provide a useful lens through which to view The Platform Sutra of the Sixth Patriarch.

Hadot argues that ancient philosophers aimed less at imparting systems of thought and ready-made knowledge than at cultivating an enlightened way of living, and in providing training that would foster their students’ efforts to carry this out. The texts themselves were “therapeutic” – intended, in the first instance, to form people and to transform souls. The transmission of a purely abstract knowledge was not the teachers’ goal. Their instructions were pragmatic: to be applied, lived directly, and embodied. The ‘doing’ of philosophy entailed study and practicing a method of spiritual exercises in learning to live the philosophical life. Hadot writes,

Ancient philosophy presented itself as a ‘therapeutics’ and that this goal meant doing philosophy. In this study/practice more than theses, one teaches ways, methods, and spiritual exercises; dogmas have only a secondary aspect.

The exercises were “spiritual” because they required effort, training, and a serious purpose of will to correct entrenched habits and effect a reorientation in one’s whole way of being. The aim of the teacher and the text (which was seen as a direct or indirect echo of the oral instructions of the teacher) was not to transmit knowledge, but to produce a certain psychic effect in the reader or listener. The encounter was intended more to form than to inform. The texts born of this tradition came embedded with spiritual exercises aimed at realizing a transformation of one’s vision of the world and a metamorphosis of one’s personality.

So too, we would argue, is the aim of The Platform Sutra. When a student asks the Master which of the “vehicles” (schools or traditions of Buddhism) is the correct one given that they all differ and seem to contradict each other, he answers:

Vehicles are methods of practice; not subjects for debate. Cultivate yourself; don’t ask me. At all times, your own essential nature is itself “truly as it is.”

This sutra is clearly “philosophical” in Hador’s sense. It aims at producing an effect upon and an affect in the reader. The Master is trying to get his disciples, and by extension the reader, to stop and consider, to act, feel, and live in a certain way. The Sixth Patriarch is not trying to indoctrinate, nor even set up a school of thought. His aim, to borrow Hadot’s phrase, is “therapeutic.” Huineng stirs his students from their complacency, and purposely unsettles them. He stimulates them to inquire, to take up a practice, and to directly engage their own minds, rather than to believe in a doctrinal exposition, however cogent and credible.

Huineng himself avoids calling his method a system of thought, or even a Teaching. He says, “If I said I had a teaching to give others, I would be deceiving you. Depending on the situation, I merely use expedients to untie people’s bonds, and provisionally call it ‘samadhi.” His goal it seems is not to be worshipped as an enlightened teacher, but to set his students on a course of self-cultivation leading them to directly awaken on their own. Put another way, he asks his students “to walk the same path the Buddha(s) walk.” Anything else is provisional, expedient, secondary. He deflects attention from himself the teacher, even as he is about to die, and instead redirects his students to the teaching. He tells them,

After I pass away, don’t indulge in worldly sentiment. If you cry tears like rain, receive condolences, or wear mourning garments, you are no longer my disciples; all of this runs counter to the Teaching. Just recognize your original mind and see your fundamental nature.

By rephrasing our question from “What was the Sixth Patriarch trying to say?” to, “What was the Sixth Patriarch attempting to do?” we are able in some degree to enter into the dynamic dialogues from which the text emerged. We engage the material more intimately, as if sitting as participant-observers in the Sixth Patriarch’s presence, and push ourselves to reach beyond the words to get the meaning, as in the Zhuangzi quote above. Otherwise, we are left just holding the empty snare.

The Sixth Patriarch's Dharma Jewel Platform Sutra, plxiv-lxviii

I first learned of this book from references to it in Chinese Master Hsuan Hua’s 14-volume commentary on the Lotus Sutra. What attracted me was the Patriarch’s insistence that there was nothing to seek outside one’s self.

As Rev. Sure and Professor Verhoeven explain, this was pragmatic teaching meant “to be applied, lived directly, and embodied.”

The Nichiren Buddhism I know seems to lack this transformative intent. We are asked to believe, but not necessarily to act or live a certain way beyond simply upholding the supremacy of the Lotus Sutra.


The Sixth Patriarch’s Dharma Jewel Platform Sutra
NEXT: The Practice
Practice Beyond Reciting
Seeking the Pure Land in the Wrong Place
Our Inherent Buddha Nature

The Secretly Treasured Doctrine of the Buddha

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

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

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

Daily Dharma for January 19, 2026

20260119-ddi

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

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

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

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

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

Kanji text translation

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

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

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

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

Correctly Understanding the Teaching of the Lotus Sūtra

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

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

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

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

Daily Dharma for January 18, 2026

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Illustration by Google Gemini

Show Gemini's thinking

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

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

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

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

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

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

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

Kanji translation

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

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

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

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

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

Here is the breakdown:

The handwritten black text (vertical):

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

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

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

The red square stamp:

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

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

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

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

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

Śrāvakas and Pratyekabuddhas of the Tripitaka Teaching

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

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

Daily Dharma for January 17, 2026

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Illustration by Google Gemini

Show Gemini's thinking

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

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

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

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

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

Translation of kanji characters on the scroll

Reply to Lord Ueno

Here is the breakdown of the characters:

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

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

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

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

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

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

On the Journey to a Place of Treasures