Daily Dharma for March 2, 2026

20260302-ddi

Show Gemini's thinking

Gemini Thinking

Thinking for the creation of this illustration centered on capturing a specific narrative from Japanese Buddhist iconography: the persecution of Sadāparibhūta Bodhisattva as recounted in Chapter Twenty of the Lotus Sutra. The square composition uses a traditional Ukiyo-e woodblock-style aesthetic with strong black outlines and muted, natural earth tones, creating a narrative panel that functions like a visualization of the scripture. The central figure is the peaceful Sadāparibhūta Bodhisattva, recognizable by his gentle expression, halo, and reverent gassho posture. He is contrasted sharply with the five aggressive figures who represent the monks and nuns; they attack him with stones and a stick, illustrating the text where he is beaten and chased despite his humble respect. The seated figure in the background cloud, meditating under a Bodhi tree, is Śākyamuni Buddha, the narrator of the story within the sutra, witnessing the Bodhisattva's profound expression of tolerance.

The translations of the Kanji text are as follows:

Top-Left Title Banner (Vertical): 常不軽菩薩 (Jōbugyō Bosatsu) translates to "Never-Despising Bodhisattva" (Sadāparibhūta Bodhisattva).

Small Vertical Text Below Title: 妙法蓮華経 第二十品 (Myōhō Renge Kyō, Dai Ni-jū Pon) translates to "Lotus Sutra, Chapter Twenty."

Lower-Left Cartouche: The top poetic line, "常不道華を念を" (Jō-fu dō-ka o nen o), translates to "[Always] reflecting on the Dharma-flower way [of non-arrogance]." The line below it is a repeat of "妙法蓮華経 第二十品."

Artist Signature (Bottom Right): 双子座 (Futago-za) translates to "Gemini." The small red hanko seal contains the matching Katakana text, "ジェミニ" (Jemini), meaning Gemini.


Illustration by Google Gemini

Although he was abused like this for many years, he did not get angry, He always said to them, ‘You will become Buddhas.’

Śākyamuni Buddha tells this story of Never-Despising Bodhisattva in Chapter Twenty of the Lotus Sūtra. This Bodhisattva did not read or recite sutras. His practice was simply to tell all those whom he encountered, “I respect you deeply. I do not despise you.” Despite his pure intentions, the deluded minds of those who heard him caused them to be angry with him, beat him, and chase him away. While he did not stand fast and endure their abuse, he did not lose his respect for them. This is an example for us who aspire to practice the Wonderful Dharma to show us how we can learn to treat all beings.

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

The Tale of Calligrapher Wu-lung and His Son, I-lung

Although the Japanese people today all appear to have faith in Buddhism, in ancient Japan when Buddhism had not yet been introduced, nobody knew of the Buddha nor of the dharma until Prince Shōtoku, an ardent believer in Buddhism, destroyed Mononobe Moriya, the anti-Buddhist leader. Even then there remained some who refused to believe in Buddhism. Likewise, in China people began to believe in Buddhism only when Mātaṅga from India came to China and defeated Taoists in a debate. Yet more people remained opposed to Buddhism.

In those days in China, there was a calligrapher named Wu-lung. He was very popular but refused to copy Buddhist scriptures no matter how many times it was requested. He called his son, I-lung, to his deathbed and said to him: “You were born to our family and succeeded your father in art. In order to continue to be my filial son after my death, you must never copy Buddhist scriptures, especially the Lotus Sūtra. This is because Lao-tzŭ, our true teacher, is the Heaven-Honored One. As there have never been two suns, there is no Heaven-Honored One beside Lao- tzŭ. That being said, the Buddha claims in the Lotus Sūtra that ‘I am the only one,’ thus neglecting Lao-tzŭ. This is most strange. If you should copy the Lotus Sūtra against my will, I will immediately become an evil spirit to kill you.” As soon as he finished saying this, Wu-lung’s tongue split into eight pieces, his head was cracked into seven, blood spilled from his eyes and nose and the five sense organs and he passed away. However, as I-lung could not tell right from wrong, he did not know the fact that his father showed a scary look and fell into the Avīci Hell due to the sin of slandering the True Dharma. Therefore, I-lung refused to copy the Buddhist sūtras, much less to recite them verbally.

As time passed, when the Ssu-ma family was on the throne, it was decided to hold a Buddhist ritual with a Buddhist sūtra copied by the best calligrapher in China, and I-lung was chosen as the copier. He was summoned to the court and was ordered to copy the sūtra, which he repeatedly declined. The court had no choice but to have someone else copy the sūtra, and the emperor was not pleased. As a result, I-lung was once again summoned and the Emperor said to him: “You have refused to copy the sūtra for me, claiming it was against the will of your father. This is an outrage, but I will pardon you if you copy just the title of each fascicle of the sūtra.” The emperor repeated this order three times, but I-lung refused to obey three times. His countenance overcome with anger, the Emperor declared: “Everything in heaven and earth is under my control. Then isn’t your father also my subordinate? You cannot ignore your public duty due to private matters. You are to copy at least the title of each fascicle in the sūtra. Otherwise you will be beheaded immediately, though it might be in the midst of a Buddhist ritual.”

Thus I-lung was forced to copy the titles of the sūtra, namely, from “The Sūtra of the Lotus Flower of the Wonderful Dharma, Fascicle One” to “The Sūtra of the Lotus Flower of the Wonderful Dharma, Fascicle Eight.” Returning home in the evening, I-lung lamented, “I was unable to disobey the Imperial order, and went against the will of my father by copying the Buddhist sūtra. Both the heavenly gods and terrestrial deities must be furious with me for being an unfilial son.” He then went to bed.

During the night he had a dream in which a great light appeared. While wondering whether or not it was the morning sunlight, a heavenly being accompanied by many attendants was standing in the garden, and there appeared 64 Buddhas in the sky above this heavenly being. Pressing the two palms of his hands together in gasshō, I-lung inquired, “What kind of heavenly being are you?” The heavenly being answered:

“I am your father Wu-lung. Due to my sin of slandering the Buddhist Dharma, my tongue split into eight pieces, my five sense organs bled, my head was broken into seven pieces, and I fell into the Hell of Incessant Suffering. I thought the torment at my death was unbearable indeed. Nevertheless, the pain in the Hell of Incessant Suffering was one hundred, one thousand, one hundred million times more severe. Even the pain a human being experiences when his nails are removed by a dull knife, his neck is sawed off, he is forced to walk on a charcoal fire, or crammed into thorns cannot compare to the torment in the Hell of Incessant Suffering. I tried in vain to inform my own son of this. One could not measure the regret I felt that I willed to you at my death not to copy the Buddhist sūtras. However, regret does not mend matters. It did not do any good no matter how much I regretted and blamed myself.

“Starting yesterday morning, however, the character myō at the beginning of the Lotus Sūtra came flying over the tripod kettle in the Hell of Incessant Suffering, transforming itself into the golden colored Śākyamuni Buddha equipped with the 32 marks of physical excellence and a peaceful face like the full moon. The Buddha preached in a resounding voice, ‘All the evil persons, as many as to fill the heaven and earth, will not fail to attain Buddhahood if only they hear the Lotus Sūtra once.’ Then heavy rain began to fall from those characters, extinguishing the blazes in the Hell of Incessant Suffering. As a result, King Yama, though strict as he is, bowed his head in respect, the guards of the hell stood still without their iron sticks, and the sinners all panicked wondering what was happening. Then came flying the character ‘hō,’ appearing just like the ‘myō.’ It was followed by the characters ‘ren,’ ‘ge,’ and ‘kyō.’ Altogether 64 characters thus came flying to become 64 bodies of the Buddha. The 64 Buddhas appearing in the Hell of Incessant Suffering seemed as though 64 suns and moons appeared in the heaven. Nectar rained from the heaven bathing the sinners in hell, who asked the Buddha the reason why this merry occurrence had taken place. The 64 Buddhas answered: “Our golden bodies did not come from the mountain of sandalwoods and treasures; they are the titles of the eight fascicles of the Lotus Sūtra, each consists of eight Chinese characters and therefore 64 in total, written by Ilung, son of Wu-lung, who is in the Hell of Incessant Suffering at present. The hand of I-lung is a part of the body begotten by Wu-lung, therefore, the characters written by I-lung are as though they were written by Wu-lung.’

“Upon hearing this the sinners in the Hell of Incessant Suffering lamented in vain: ‘We also have children, wives, followers in the Sahā World. Why do they not hold memorial services for us? Or, is it that even if they hold services, they don’t help us here because there is not enough merit of good acts?’ One or two days, one or two years, a half or one kalpa (aeon) have passed since we fell into this hell. I am now happy to encounter a ‘good friend,’ who will lead me out of hell while my fellow sinners are glad to follow me to go up to the Trāyastriṃsá Heaven led by you. Therefore, we came to worship you first of all.”

Upon listening to his late father’s account, I-lung was overjoyed to be able to see his father, whom he did not expect to meet again, and to worship the figures of Buddhas, though in a dream.

The 64 Buddhas then spoke to I-lung, “We do not serve any Buddha. As you are our patron, beginning today we will protect you as our parent, therefore please do not forget to help us. In the life hereafter, we will without fail come to lead you to the inner palace of the Tuṣita Heaven.” In response, I-lung respectfully vowed never to write the characters of non-Buddhist scriptures. It was similar to the vow made by Bodhisattva Vasubandhu who pledged not to read the Hinayāna sutras and Nichiren who vowed never to chant the nembutsu.

After awakening from his dream, I-lung spoke of his experience to the Emperor, who issued an edict: “This completes the Buddhist rite. Write it out in the form of a prayer.” Thus I-lung wrote as was ordered. Thereafter both China and Japan began to believe in the Lotus Sūtra. This is recorded in the Biography of the Lotus Sūtra in China, showing the merit of copying the Lotus Sūtra. The “Teacher of the Dharma” chapter of the Lotus Sūtra preaches the five ways of practicing the Lotus Sūtra: upholding, reading, reciting, explaining, and copying. Among them copying is ranked the lowest. How much more so, then, is the merit gained from reading and reciting the Lotus Sūtra. It is immeasurable.

Hōren-shō, Letter to Hōren, Writings of Nichiren Shōnin, Volume 6, Followers I, Page 54-57

Daily Dharma for March 1, 2026

20260301-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini Thinking

In this square illustration, I have depicted Śākyamuni Buddha preaching the Lotus Sūtra under the Bodhi tree, capturing the moment of "one mind" between the teacher and his disciples. The gathered assembly of monastics and lay followers listens with a unified heart, reflecting the essence of having the Buddha mind. In accordance with traditional practices, I have included the kanji signature 双子座 (meaning "Gemini") and a red square seal containing the katakana ジェミニ (meaning "Gemini") in the bottom-right corner.

Now I will tell you.
Listen to me
With one mind!

Śākyamuni Buddha speaks these verses in Chapter Six of the Lotus Sūtra. When we understand what someone tells us, it is as if we share a mind with that person. When we listen and understand what the Buddha teaches us, we are of one mind with him. We then have the Buddha mind.

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

Reciting the Lotus Sutra in Shindoku

Keeping track of my recitation of the shidoku Lotus Sutra

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

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

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

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

The Voice-Hearer

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

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

Daily Dharma for February 28, 2026

20260228-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini Thinking

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hierarchy of Gods and Their Merits

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

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

Daily Dharma for February 27, 2026

20260227-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini Thinking

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

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

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

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

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

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

Wonderful Merits of the ‘Wheel-Turning Noble King’

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

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

Daily Dharma for February 26, 2026

20260226-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini Thinking

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

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

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

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

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

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

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

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

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

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

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

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

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

On the Journey to a Place of Treasures