Daily Dharma for February 22, 2026

20260222-ddi

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Kanji Translation

The kanji text on the scroll reads:

法華経 (Hokekyō)

This translates to The Lotus Sutra.

Gemini Thinking

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

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

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

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

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

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

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

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

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

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

A Good Medicine for the Diseases of People

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

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

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

Daily Dharma for February 21, 2026

20260221-ddi

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Gemini Thinking

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

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

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

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

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

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

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

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

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

Clouds of Ignorance

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

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

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

Daily Dharma for February 20, 2026

20260220-ddi

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Gemini Thinking

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

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

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

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

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

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

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

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

With Strong Faith and Deep Determination

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

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

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

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

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

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

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

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

Daily Dharma for February 19, 2026

20260219-ddi

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Gemini Thinking

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

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

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

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

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

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

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

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

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

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

The Gold In A Stinking Purse

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

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

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

Daily Dharma for February 18, 2026

20260218-ddi

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Gemini Thinking

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

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

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

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

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

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

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

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

Depend Upon the Sūtras the Buddha Expounded

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

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

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

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

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

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

On the Journey to a Place of Treasures