A Little AI Magic Revisited

Somebody somewhere posted a link to a blog post I wrote in August 2024 entitled A Little AI Magic. That’s become one of the top-five traffic destinations here.

In terms of AI, two years is a long time ago. When I wrote that post, Google had just re-enabled image generation after halting image generation in February of that year following controversy surrounding the generator’s insistence on racial diversity in all images.

Today, I decided to revisit the question of whether Microsoft’s Copilot or Google’s Gemini was the better choice for image generation.

For Copilot I selected the “Smart” setting – this utilizes GPT-5.1 – and clicked on the “Create an image” button. I then pasted in the prompt:

Generate image in style of emoji that represents Nichiren Buddhism

Here’s the result:

co-pilot-an emoji-style symbo

I then went to Gemini and selected “Thinking” mode and “Create images” and pasted the same prompt.

Here’s the result:

Gemini_emoji-style-web

Personally, I prefer the “imagination” shown in Gemini’s image. The Copilot image is, well, boring. It’s accurate and useable but it doesn’t “represent Nichiren Buddhism” as much as label it.

So, while there was no comparison two years ago, the image generators in 2026 are far more sophisticated.

Now I shall digress because Gemini tonight lapsed into declaring that the Daimoku is “Nam-myoho-renge-kyo.”

Here’s the “thinking” that went into creating its image:

Analyzing Nichiren Buddhism
I’m currently focused on deconstructing Nichiren Buddhism to pinpoint its central symbols. I’ve identified the Daimoku (“Nam-myoho-renge-kyo“) and the Gohonzon (calligraphy) as critical. The challenge lies in condensing these elements into a single, readily interpretable emoji.

Embodying Nichiren’s Essence
I’m now zeroing in on embodying the core elements: Daimoku, Gohonzon, Nichiren, and the lotus. My strategy is to combine the lotus with a stylized scroll. The scroll will bear symbolic text in lieu of a detailed Gohonzon, and a friendly figure, representing Nichiren, will be added to the composition. The intent is to refine it with bold lines, vivid colors and a sticker appearance.

Verifying Visual Fidelity
I am now assessing the visual elements against the initial prompt. I am concentrating on how accurately the artwork reflects the specified style and whether key symbolic elements are present.

Analyzing Style Compliance
I am checking the image for alignment with the specified “emoji style,” looking at cartoon figures and strong lines. I am focusing on how well it visually captures Nichiren Buddhism. I also look at the monks and scrolls and whether the kanji ‘Nam-myoho-renge-kyo‘ is correctly written. I am preparing to share my findings.

I have been using a Gem – a reusable prompt – I wrote to generate images for the Daily Dharma since December of 2025. Not once has Gemini said that the Daimoku written representing the Japanese text using Roman letters – Romanji – begins “Nam” rather than “Namu.”

Gemini knows that seven Chinese characters make up the Daimoku – 南無妙法蓮華経 – and that the first two – 南無 – are rendered Namu in Romanji.

It is a phonetic transliteration of the Sanskrit word Namas, used to express deep respect and dedication. It does not carry the literal meanings of the individual characters, which are “south” (南) and “nothing/without” (無).

Why write “Nam” instead of “Namu”?

This is a very good question that touches on Japanese phonetics and how languages adapt foreign words.

The reason “南無” is romanized as Nam instead of the standard Japanese pronunciation Namu is due to a linguistic phenomenon called vowel devoicing or elision that occurs during the rhythmic chanting of the mantra.

Here is a breakdown of why this happens:

1. The Sanskrit Origin As mentioned before, the characters 南無 act as a phonetic transliteration of the Sanskrit word Namas (meaning devotion or bowing to). Ancient Chinese and Japanese monks chose characters that sounded similar to “Namas,” regardless of their literal meaning.

2. Standard Japanese Pronunciation In standard, isolated Japanese:

南 is usually pronounced Nan (or Minami).

無 is usually pronounced Mu.

Put together, the standard dictionary pronunciation is Namu.

3. The “Vowel Drop” (Elision) In spoken Japanese, the vowel sounds ‘u’ and ‘i’ are often “devoiced” (whispered or dropped completely) when they appear at the end of a word or between certain consonants.

Think of the common Japanese word for “is/to be,” desu (です). In normal speech, it usually sounds like “dess,” with the final ‘u’ being almost silent.

4. The Chanting Rhythm When chanting Nam-myoho-renge-kyo, the rhythm is crucial. It is chanted rapidly and rhythmically.

Trying to pronounce every syllable fully—Na-Mu-Myo-Ho-Ren-Ge-Kyo—is awkward and breaks the flow. Therefore, in the natural rhythm of the chant, the final ‘u’ sound in “Namu” is dropped, compressing the two syllables into one sharp beat: Nam.

Summary While the strict character-by-character transliteration is “Namu,” the romanization “Nam” is used because it accurately reflects the actual sound made when practitioners chant the mantra rhythmically.

I certainly hope this prioritization of the spoken Japanese over the literal Japanese doesn’t creep into the “thinking” that’s illustrating the Daily Dharma. I may chant “nam” but I want to read “namu.”

‘Is Not This the Utmost Happiness?’

Life is fleeting! No matter how many powerful enemies join forces against you, do not retreat and never be afraid. Even if your head is sawed off, your torso pierced through with a spear, and your feet shackled and drilled with a gimlet, you should continue chanting “Namu Myōhō-renge-kyō” as long as you have life. If you die chanting it, Śākyamuni Buddha, the Buddha of Many Treasures, and Buddhas in manifestation throughout the universe will immediately come flying, lead you by the hand or carry you on their shoulders to Mt. Sacred Eagle as they had promised at the assembly on Mt. Sacred Eagle. At that moment, two sages (Bodhisattvas Medicine King and Brave Donor), two heavenly kings (World Holding and Vaiśravaṇa), and ten female rākṣasa demons will protect you, upholders of the Lotus Sūtra, and various gods and deities will hold up a canopy over your head, wave banners, guard you, and certainly will send you to the Jeweled Land of Tranquil Light. Is not this the utmost happiness?

Nyosetsu Shugyō-shō, True Way of Practicing the Teaching of the Buddha, Writings of Nichiren Shōnin, Faith and Practice, Volume 4, Page 92-93

Daily Dharma for February 5, 2026

20260205-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini's Thinking

Defining the Iconography
I am now focusing on deconstructing the theme from the core request. The key element is bowing, and the instruction refers to something held or kept. I must consider how these aspects can be visually represented within a square, Japanese Buddhist framework.

Conceptualizing the Scene
I am now structuring the scene; I have defined two figures: one bowing, the other holding a sutra scroll. I am exploring visual representations of respect and the sutra itself, within a square format, using traditional Japanese Buddhist motifs. The signature and seal are earmarked for integration. I'm focusing on creating a serene atmosphere.

Analyzing Visual Elements
I'm currently focused on evaluating the visual elements to ensure they align with the user's explicit instructions. I'm checking for adherence to the requested style and format, as well as the constraints provided.

Verifying Adherence to Instructions
Now I'm focusing on validating that every requirement in the instructions is satisfied. I'm verifying the format is exactly as requested, and I'm ensuring all the negative constraints are addressed. I'm confirming that the image communicates the key message. I'm also double-checking that all the compositional elements are precisely placed, as the prompt specifies. I'm ensuring the visual components are satisfactory.

Join your hands together and bow
To the person who keeps this sūtra
In the evil world after my extinction,
Just as you do to me!

Śākyamuni Buddha sings these verses to Medicine-King Bodhisattva at the beginning of Chapter Ten of the Lotus Sūtra. By extension he is giving this instruction to all Bodhisattvas and great beings of the universe, and explaining to them that those who keep the Lotus Sūtra are as precious in this world of conflict at the Buddha himself. If we hear these verses with a mind of ego and attachment, we could conclude that we deserve respect and begin to demand it from others. Those who demand respect only generate fear. The Buddha gained respect by respecting all beings. When we treat others as Buddhas, we are certain to have that treatment reflected back towards us.

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

The Lotus Sūtra is the Original Buddha

[T]he two Buddhas, Śākyamuni and Many Treasures, are functions of the substance, that is the five characters of myō, hō, renge, and kyō. In other words, the Lotus Sūtra is the Original Buddha. “The Life Span of the Buddha” chapter of the Lotus Sūtra mentions the Buddha’s “hidden core and divine powers.” The hidden core of the World Honored One refers to the substance of the Original Buddha possessing the threefold body (Dharma Body, Reward Body, and Accommodative Body). The divine powers mean the three bodies of manifested Buddhas as functions of the Original Buddha (substance). Also, we unenlightened people can fundamentally be the Original Buddha with three bodies of the substance, and the Buddha’s three bodies are functions and manifestations of the Original Buddha. If this is true, although we believed that Śākyamuni Buddha provided the three virtues of master, teacher and parent to us, instead it was we unenlightened people who provide three virtues to the Buddha. The reason why we say this is based on T’ien-t’ai’s interpretation in the ninth fascicle of the Words and Phrases of the Lotus Sūtra that, “The Tathagata (Thus-come One) is a common term for all Buddhas in ten directions in the past, present, and future, two Buddhas (True Body and Accommodative Body), three Buddhas (Dharma Body, Reward Body, and Accommodative Body), the Original Buddha and Buddhas in manifestation.” In this annotation, the Original Buddha refers to unenlightened people and Buddhas in manifestation mean Buddhas. However, there is a difference between unenlightened people and enlightened Buddhas, and those people are unaware that both people and Buddhas originally possess the same threefold bodies either as substance or function.

Shohō Jissō-shō, Treatise on All Phenomena as Ultimate Reality, Writings of Nichiren Shōnin, Faith and Practice, Volume 4, Page 81

Daily Dharma for February 4, 2026

20260204-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini's Thinking

Defining the Visual Concept
I'm now zeroing in on the core of the user's request, the synthesis of traditional Japanese Buddhist art with the given text and signature. I'm focusing on the Nihonga style as a foundation.

Refining the Composition
I'm now establishing the core components. I'm focusing on a square format, and building out the foundational elements: Shakyamuni Buddha at the center on a raised platform or lotus, and a respectful assembly of Bodhisattvas. The goal is to set the scene for the preaching event in a Japanese Nihonga style.

Defining the Scene's Components
I'm working to extract key visual components and defining the composition based on the user's instructions. I've broken down the request into style, content, action, setting, details, and mood to inform the composition.

Structuring the Illustration
I am now organizing the visual components into a coherent structure. I'm focusing on a square composition to align with the user's instructions. I've broken the request down into style, content, action, setting, details, and mood to inform the composition, so that it will incorporate the correct visual elements and information. I'm creating a comprehensive list of elements, including Śākyamuni Buddha, the Bodhisattvas, the lotus pond, and the text elements, to ensure a cohesive final illustration.

Verifying Art Style Accuracy
I'm checking the illustration to make sure it meets the requirements. I've confirmed the image captures the Japanese Buddhist style with Śākyamuni Buddha. I've also verified the presence of devotees and a scroll with the specified text. Additionally, the signature '双子座' is present.

Confirming Final Details
I've examined the artwork again. I see that the 'ジェミニ' seal is also accurately placed in the bottom-left. It incorporates every requested element, including the signature and scroll text, in the appropriate style. I believe it now fully reflects the requirements.

Extol the teaching of the One Vehicle
In the presence of those who are modest,
Who are pure in heart,
And who are seeking the enlightenment of the Buddha!

Śākyamuni Buddha sings these verses in Chapter Two of the Lotus Sūtra. In Nichiren’s writings, he taught that since the Wonderful Dharma saves all beings, it is suited to the time in which we live. As Bodhisattvas who are certain of our own enlightenment, we are committed to nourishing the seed of enlightenment in others. These verses show us what to keep in mind as we help to clear away the delusion and suffering in this world. We learn to see purity in the hearts of others, and understand their motivation towards enlightenment, even if they do not realize this themselves.

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

The Life Span in the Realm of Heavenly Beings

It has been 2,200 years or so since the Buddha expounded the Lotus Sūtra. As the life span of human beings is short, there is no one still alive who was able to see the Buddha in person. The length of a day as well as the life span in the realm of heavenly beings, however, are so long that there exist numerous heavenly beings who listened to the Buddha preach the Lotus Sūtra. Fifty years for human beings is equivalent to one day and night for the Four Heavenly Kings. Passing the day and night in this way, with 30 days in a month and 12 months to a year they live altogether 500 years. Accordingly, 2,200 years or so in the human realm is equivalent to 44 days of the Four Heavenly Kings, and it has been only 44 days since the sun and moon and Vaiśravaṇa (Bishamon, one of the Four Heavenly Kings) saw the Buddha enter Nirvana. In other words, it has not been two months yet since the Buddha passed away. To such heavenly beings as Indra and the King of the Brahma Heaven it has been a month or so since the Buddha passed into Nirvana. How can they forget all about the vow they made before the Buddha, the great favor of the sūtra in which they attained Buddhahood, and abandon the practicers of the Lotus Sūtra in such a short span? When we think of things in this way, we are sure we can depend on these heavenly beings.

Accordingly, the prayer said by the practicer of the Lotus Sūtra will inevitably be fulfilled just as a sound is echoed, a shadow follows the body, the moon reflects upon the clear water, a water nymph invites the water, a magnet attracts iron, amber eliminates dust, and a clear mirror reflects the color of everything.

Kitō Shō, Treatise on Prayers, Writings of Nichiren Shōnin, Faith and Practice, Volume 4, Page 66-67

Daily Dharma for February 3, 2026

20260203-ddi

Illustration by Google Gemini

Show Gemini's thinking

In order to get this image I had to add this instruction:

When this scene occurs, Śākyamuni Buddha and the Buddha Many Treasures are seated side-by-side in the Stupa of Treasures floating in the sky. The Bodhisattvas have risen out of the ground and are filling the sky in all directions. The entire congregation is in the sky at this point.

Gemini Thinking

Defining the Illustration Parameters
I'm now zeroing in on the specifications. The illustration needs to be square. It's crucial to align the stylistic choices with traditional Japanese Buddhist art, specifically, I am focusing on Chapter 15 of the Lotus Sutra.

Refining the Composition
I'm now clarifying the visual composition. I've decided on a square format, focusing on the upper half being dominated by the Stupa of Treasures containing Śākyamuni and Many Treasures, with the lower half depicting the cracked earth and ascending Bodhisattvas. I'm taking into account the need for a signature and seal in a suitable location.

Detailing the Visual Composition
I am now focusing on the specific visual elements. I've broken down the scene: the square format, the sky-bound Stupa of Treasures above a cracked earth, and the ascending Bodhisattvas. I'm focusing on incorporating traditional Japanese Buddhist painting techniques and a muted, rich palette. I must accurately portray each figure with the correct iconography.

Defining the Key Elements
I'm now identifying the crucial elements: a square format illustration in the Japanese Buddhist style from the Lotus Sutra, Chapter 15. The Stupa of Treasures, Śākyamuni, and Many Treasures will be in the sky above a cracked earth, from which countless Bodhisattvas emerge, with Maitreya in the foreground. I will also incorporate the given text, and the artist's signature.

Verifying the Illustration
I'm now cross-referencing the initial request with the generated content. My analysis focuses on the precise representation of the requested elements within the traditional Japanese Buddhist style. I'm checking the fidelity of the depiction of the Lotus Sutra scene. The focus is the accurate portrayal of the primary figures and their roles.

Analyzing the Accuracy
I'm evaluating the generated scene against the core narrative of the Lotus Sutra, specifically focusing on the Bodhisattvas' emergence, Maitreya's role, and Śākyamuni's presence. I am also checking for accurate visual cues and placement of key elements. The integration of the verses and signature, as per the initial request, is under review.

We have never seen
These many thousands of billions
Of Bodhisattvas.
Tell me, Most Honorable Biped!
Where did they come from?

Maitreya Bodhisattva sings these verses to the Buddha in Chapter Fifteen of the Lotus Sūtra. In the story, Śākyamuni Buddha has asked who among those gathered to hear him teach will continue teaching this Wonderful Dharma in our world of suffering after the Buddha passes into his final extinction. Some Bodhisattvas say they will teach in other worlds, since the beings of this world are too defiled to hear the Buddha’s teaching. Other Bodhisattvas vow to remain in our world, but the Buddha tells them not to bother. At that moment, the ground cracks open, and innumerable Bodhisattvas spring up and vow to carry on the work of the Buddha. Maitreya and others had never seen these Bodhisattvas before. His asking the Buddha respectfully to explain what they do not understand. This example emphasizes that we must continue to question how the Buddha’s teaching applies to our lives rather than dogmatically accepting whatever happens.

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

Life After Death for Reciting the Lotus Sūtra

Although Śubh̄karasimha was such a splendid person, he once experienced a sudden death. Upon regaining consciousness, however, he is said to have declared:

Upon my death, a hell guard came to tie me with seven iron ropes, hit me hard with an iron stick, and dragged me to the palace of King Yama. Somehow I completely forgot all Buddhist scriptures said to be 80,000 in number, not remembering even one word or a phrase except the title of the Lotus Sūtra. When I recalled it, the iron ropes that tied me got loose somewhat. Breathing a sigh of relief, I recited a passage in the “Expedients” chapter of the Lotus Sūtra resoundingly: “This triple world is all My domain, in which all the living beings are my children without exception. Although there exist many sufferings and difficulties in this world, only I, the Buddha, alone can save and protect all living beings.” Then the seven iron ropes were broken into pieces and scattered all over. Seeing this scene, King Yama took off his crown, came down to the courtyard, and said to me, “This experience of death has not exhausted your entire life span.” Thus he sent me back to this world.

Zemmui-shō, Treatise on Śubh̄karasimha, Writings of Nichiren Shōnin, Faith and Practice, Volume 4, Page 54

Daily Dharma for February 2, 2026

20260202-ddi

Illustration by Google Gemini

Show Gemini's thinking

Gemini failed to understand the essential meaning of this letter: Nichiren knew the temperament of this Samurai warrior, and gave him detailed instructions for how to navigate the political hazards he faced. No matter how vindictive his Lord Ema became, Nichiren reminded him to persist in leading Ema by the Buddha Dharma and to rely on those who kept the Lotus Sūtra with him. As a result, Kingo outlived both Ema and Nichiren himself and is well known as one of Nichiren’s first followers.

Instead Gemini offered this illustration with the following explanation of its thinking

alt-20260202-ddi

Kanji Translation

異体同心 (Itai dōshin): This phrase means "two bodies, one mind" or "united in spirit," signifying deep agreement or close cooperation.

妙法蓮華経 (Myōhō Renge Kyō): This is the Japanese title of the Lotus Sutra, a central text in Mahayana Buddhism.

双子座 (Futagoza): This translates to "Gemini," the zodiac sign.

The red stamp contains the katakana characters ジェミニ (Jemini), which is the Japanese phonetic reading of "Gemini."

Gemini Thinking

Defining the Key Elements
I'm working on the essential elements for this Japanese Buddhist illustration. I've pinpointed the core message: unity, anger management, and Dharma reliance, even in the face of conflict. I'm carefully considering the iconography and have specified exclusions for Amida Nyorai and Dainichi Nyorai. The work continues.

Refining the Composition
I've been further developing the visual composition. The key is now Jikokuten and Zōchōten (see below), back to back, embodying unity. Fudō Myōō above them acts as the protective figure. A Lotus Sutra scroll or pagoda will be central between them. I'm focusing on a rocky, misty landscape and temple gate.

Developing the Scene
I'm now detailing the setting, composition, and specific iconography of the illustration. Jikokuten and Zōchōten will stand as the central figures, back-to-back. I'm placing Fudō Myōō above them for protection. The Lotus Sutra scroll or pagoda will be central. A rocky, misty landscape and temple gate in the distance will frame the scene, and I'm adding "異体同心" near the top to reinforce the unity theme. I am aiming for a Nihonga style. I will also be adding the required signature and seal.

Analyzing the Visual Elements
I'm now cross-referencing the initial request with the visual elements present. I am verifying the iconography and the symbolic representations to ensure coherence with the text, particularly the presence of the guardians and the scroll. I am checking the consistency of details.

Verifying Image Alignment
I have carefully assessed the most recent image based on the prompt's specifications. The illustration matches the criteria: the iconography, including the figures and scroll, aligns well with the request. The signature and seal are present as intended. I am making sure the image aligns well with the user's intent.

Jikokuten and Zōchōten

Jikokuten and Zōchōten are two prominent figures in Japanese Buddhist iconography, belonging to a group of four protective deities known as the Shitennō (四天王), or "Four Heavenly Kings."

These warrior-like figures are tasked with protecting the Buddhist teachings (Dharma), the Buddha himself, and the world from evil forces. They are commonly depicted in fierce, armored forms, often shown trampling on small demon-like creatures called jaki, symbolizing their power to subdue evil. You will frequently find statues of them guarding the gates of Buddhist temples or surrounding central altars.

Here is a breakdown of each deity:

Jikokuten (持国天)
Role & Meaning: Known as the "Guardian of the Nation" or "Keeper of the Kingdom," his name reflects his duty to protect the land and its people.

Direction: He is the guardian of the East.

Iconography: In art, he is often depicted holding a sword in one hand and a staff or trident in the other. In some variations, he may be shown playing a lute, symbolizing the "Middle Way" of Buddhism—teaching that, like lute strings, one's practice should be neither too tight nor too loose. He is associated with the season of spring and the colors blue or green.

Zōchōten (増長天)
Role & Meaning: His name translates to "Lord who expands" or "Lord of Spiritual Growth," signifying his role in promoting growth, prosperity, and spiritual advancement.

Direction: He is the guardian of the South.

Iconography: He is typically shown in a dynamic pose with one hand placed firmly on his hip and the other holding a polearm, such as a spear or halberd. He is associated with the season of summer and the color red, reflecting a fiery and powerful nature.

Enemies find it difficult to attack when two people are together. Therefore, do not keep your brothers at a distance even for a brief period, regardless of what faults they may have; always be close to them. Whenever you get angry, it is clearly written on your face. Please remember that at no time do gods or deities protect those who are short tempered. It is true that you are destined to become a Buddha, but isn’t it regrettable for you to get hurt, pleasing your enemy and causing us grief?

Nichiren wrote this passage in his “Emperor Shushun” Letter (Sushun Tennō Gosho) addressed to his disciple Shijō Kingo. Nichiren knew the temperament of this Samurai warrior, and gave him detailed instructions for how to navigate the political hazards he faced. No matter how vindictive his Lord Ema became, Nichiren reminded him to persist in leading Ema by the Buddha Dharma and to rely on those who kept the Lotus Sūtra with him. As a result, Kingo outlived both Ema and Nichiren himself and is well known as one of Nichiren’s first followers.

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

Imagine the Wonders that Occur with the Daimoku

QUESTION: You cannot burn anything by simply uttering the word, “fire,” repeatedly. Indeed, you have to use your hand in order to burn something. You cannot quench your thirst by just saying “water.” You need to use your mouth for drinking water. The same is true with the daimoku. I doubt it is possible to escape from the evil realms through the mere chanting of the daimoku, Namu Myōhō Renge Kyō. Isn’t it necessary to understand what the daimoku means and what it entails?

ANSWER: When the sinew of a lion is used as a string for a koto, the sound is so powerful that all the strings made from other threads will snap. And when hearing of the sourness of a pickled plum, saliva fills the mouth without eating it. Such mysterious things happen even in worldly affairs. How then can it be denied that something wonderful happens with the Lotus Sūtra? Even a parrot is said to have been reborn in the realm of heavenly beings just by repeating the name of the Four Noble Truths of the Hinayāna teaching. Moreover, a man who dedicated himself to the Three Treasures – the Buddha, Dharma, and Saṃgha – was able to escape the attack of a monster fish in the ocean. Imagine the wonders that would occur with the daimoku of the Lotus Sūtra, the essence of all the 80,000 teachings, and the eye of all the Buddhas. Do you still hold the belief that you cannot escape the four kinds of evil realms by just chanting the daimoku of the Lotus Sūtra?

Hokke Daimoku Shō, Treatise on the Daimoku of the Lotus Sūtra, Writings of Nichiren Shōnin, Faith and Practice, Volume 4,
Page 38-39

On the Journey to a Place of Treasures