Lecture at the meeting in Panang, Malaysia , in October 22, 2006

[Morning Talk]

1. Nichiren Shonin taught a new kind of Buddhism based on faith in the Lotus Sutra 750 years ago. He wrote his teachings down in ink on paper so that others could read and understand them. Today we prize his numerous writings, which are called the “ Goshinseki” or the True Autograph Writings.

2. Sages in many parts of the world have propounded distinctive teachings and originated new religions. But in no other case have their autographed writings survived intact for over seven centuries. For that reason, Nichiren-shu has carefully guarded these True Autograph Writings and the teachings contained in them.

3. Among the several categories into which the True Autograph Writings are divided, the most important are such commentaries on faith in the Lotus Sutra as the Rissho-ankoku-ron (On establishing the correct teaching for the tranquility of the nation) and the Kanjin-honzon-sho (The object of worship for observing the mind), both written in classical Chinese.

4. The second major category of Nichiren Shonin's written works consists in letters to pious believers answering their questions about faith in relation to their daily lives. Nichiren Shonin responded to each in ways that provided guidance and took into consideration individual beliefs and circumstances. The many letters in this category give a glimpse of what was on the minds of believers in the Lotus Sutra in his time.

5. Nichiren Shonin handwrote many Mandala Honzons or objects of worship to give to his disciples, who either displayed them in Buddhist altars to be revered during the chanting of Daimoku “Namu Myoho Renge-kyo” (Hail to the Sutra of the Lotus of the Wonderful Law) or folded them up small and put in bags to be worn on the person. Although many have been lost, about 120 of these Mandalas still survive.

6. Here I explain a Mandala Honzon selected from Nichiren Shonin's True Autograph Writings. Let us compare the Mandala displayed on the altar of this room and the Daimoku that you have all just copied.

7. The Mandala was written by Nichiren Shonin himself, who poured his mind and soul into the large gleaming black-ink kanji with the aim of encouraging disciples and the faithful to worship it. In the center appear the kanji for the Daimoku ( Namu Myoho Renge-kyo ) surrounded by the names of Buddhas and bodhisattvas who emerge in the Lotus Sutra narrative, plus the names of the Radiant Kings and good deities who guard believers in the Sutra. At the base of the Mandala are Nichiren Shonin's signature and cipher (kao).

8. An ordinary mandala is a pictorial representation of the vast Buddha world. Nichiren Shonin, however, used only written words to create a Mandala Honzon for believers in the Lotus Sutra.

9. Most of his Mandala Honzons were written at the temple on Mount Minobu in modern Yamanashi Prefecture , in Japan . They are divided into several types on the basis of content. The one recommended by the Nichiren-shu for worship by the faithful is called the Shutei Mandara Honzon .

10. The Rimmetsudoji no Mandara Honzon , inscribed in April, 1280, is considered the most orderly and suitable for worship. It hung in the room where, at the age of 61, Nichiren Shonin, died, on October 13, 1282.

11. Nichiren Shonin wrote this calligraphy in a small hall on Mount Minobu in a setting surrounded by high mountains and fresh verdure. Invigorated by the world of nature, he probably worked something like this.

12. First a rectangle 161.5 by 102.7 centimeters made by gluing together 10 sheets of strong traditional Japanese paper made from the fibers of Asiatic-mulberry bark was rolled into a cylinder and placed before him. Young disciples had already made ready a set of implements for writing in India ink.

13. These consisted of paper, brushes, ink, and an ink-grinding stone. The paper was, as has been said, made of Asiatic-mulberry fibers. The large, soft brush was probably important from Song-dynasty (960–1279) China . The ink was in stick form and made of soot obtained by burning rape-seed oil. He probably used a large ink-grinding stone. When everything was ready, the atmosphere grew tense as the time for calligraphy approached. Several disciples probably looked on attentively.

14. Before beginning, Nichiren Shonin unrolled about 30 centimeters of the paper and fully charged his brush with ink. He began by writing the kanji for namu then added the names of the Four Guardian Kings. With this he set the heights of all the other kanji to be added thereafter. The edge of the partially unrolled scroll served as a straight edge.

15. Next, unrolling the paper a little more, in the next rank, he wrote the kanji for myoho and added, in this order, the names of the Buddhas Shakyamuni and Prapbhutaratna (Taho) and the names of the Four Bodhisattvas. At the seventh stroke in the kanji for myo in the Daimoku, he stopped his brush and extended the line.

16. He would continue in this way until reaching the last two of the Four Guardian Kings (Dai-Komoku-tenno and Dai-Zocho-tenno) then would add his name and cipher to indicate clearly that the Mandala Honzon was indeed his own calligraphy.

17. On the right side, he added what is called the “Sammon,” words of praise explaining why the Mandala Honzon is so precious and proudly stating that it had not appeared until 2,200 years after the Buddha attained Nirvana.

18. Nichiren Shonin placed great importance on the epoch in Buddhism is propagated. In his time, the world had already entered what is called the Latter Day of the Law when true Buddhism had been lost. And it was just at that time, when faith in the Lotus Sutra was needed for the salvation of humanity that the Mandala Honzon appeared.

19. Once the main calligraphy was complete, he would add lengthening strokes to the kanji for myo, ren, and ge . Then he would intensify the bold impression created by the kanji for kyo by stroking it with the brush to increase its size. Then he would complete the Mandala Honzon by adding brush touches wherever necessary.

20. The long vigorous extensions (called komyoten , or radiance points) of some of the strokes in the kanji used in the Mandala Honzon are ink representations of the light of the Daimoku shining out to the whole universe and of the radiance of all cosmic life inherent in Buddhas, bodhisattvas, deities, and human beings.

21. The date is included in a Mandala Honzon in token of the importance attached to the days on which Nichiren Shonin wrote them and gave them to his disciples. To the left of the signature appears the reign year Koan 3, which corresponds to 1280 in the Western reckoning.

22. Although it appears in many Mandala Honzons, the name of the disciple or believer to which this particular example was given is missing on the front. Recently, however, it has become clear that the Honzon was given to Nichiro Shonin, whose name and cipher appear on the underside of the paper.

23. Since he presented it to him directly after inscribing the Honzon, Nichiren Shonin did not indicate the conferee. Upon receiving it, Nichiro Shonin took it back to Kamakura with him and enshrined it in the Hokke-do hall. Before doing so, he wrote his own name and cipher on the underside as indication of ownership.

24. Nichiren Shonin wrote each kanji with a full awareness of its meaning and significance. That is why, though only black ink on white paper, the calligraphy and form of the kanji of the Mandala Honzon express the heart of a believer in the Lotus Sutra.

25. The black kanji of “ Namu Myoho Renge-kyo” a nd the names of the Buddhas and bodhisattvas illumine the cosmos with a dazzling golden light like that of the sun. They are like symbolic gold revealing the Buddha World.

26. An ordinary mandala has colorful depictions of the holy Buddha cosmos, beautiful, decorative letters, and a long historical tradition. Their production requires contributions from the faithful and the diligent work of artists. In contrast, the Nichiren Mandala Honzon can be inscribed easily by one person, starting with Nichiren Shonin himself of course, but including all of us. Indeed, all of you have just inscribed “ Nam Myoho Renge-kyo,” the core of the Mandala Honzon, which we have always with us.

Materials on display

1. Shutei Mandara Honzon (1280)
2. True Autograph Writings
3. Rissho-ankoku-ron and Kanjin-honzon-sho
4. Yoji Go-Mandara Honzon
5. Several sheets of traditional starched Japanese paper

 [Afternoon Talk]

Praying to Nichiren Shonin's Mandala Honzon

1. Now, to help you understand them better, I should like to explain the Daimoku (“Namu Myoho Renge-kyo”) itself and the Buddhas, bodhisattvas, Radiant Kings, good deities, and sages whose names grace the Mandala Honzon.

2. In the Daimoku, first comes namu (written with two kanji ), which represents the ancient Sanskrit word namas , meaning devotion or reverence. Thus, chanting “Namu Myoho Renge-kyo” expresses profound faith in and devotion to the Lotus Sutra.

3. Flanking the centrally placed Daimoku are phrases meaning Hail to the Buddha Prabhutaratna (Taho) and Hail to the Buddha Shakyamuni. In Chapter Twelve of the Lotus Sutra “The Appearance of the Treasure Tower ,” Taho (Many Treasures) emerges to proclaim the truth of everything Shakyamuni says.

4. In the scene as depicted in the Sutra, Shakyamuni is expounding the Lotus Sutra to a great assembly on Vulture Peak ( Ryoju-sen) when suddenly the Earth splits open and a Treasure Tower rises to hang hovering in the air. From the tower is heard Taho's voice praising Shakyamuni and declaring everything he says to be the truth. Shakyamuni then joins Taho inside the tower. In the Honzon, the two Buddhas are represented as if in the tower on either side of the Daimoku.

5. Positioned around Shakyamuni and Taho are Four Bodhisattvas: on the right Superior Practices (Jogyo) and Boundless Practices (Muhengyo); on the left, Pure Practices (Jogyo) and Firmly Established Practices (Anryugyo). These so-called Four Bodhisattvas are charged by Shakyamuni with the task of saving the disorderly world. Nichiren Shonin pursued a bold mission of teaching as an incarnation of the bodhisattva Superior Practices.

6. Four other bodhisattvas are named in the Mandala Honzon. Manjushri (Monju), the bodhisattva of wisdom; Samantabhadra (Fugen), the bodhisattva of compassion; Bhaishajyaraja (Yakuo), who disciplined himself sternly in the Lotus Sutra teachings; and Maitreya (Miroku), who is to become the future Buddha. All four guide sentient beings sunk in sorrow. Yakuo is to the right of Monju and Miroku to the left of Fugen.

7. A number of other human and celestial beings appear on the Mandala. For instance, from the Ten Major Disciples, Shariputra (Sharihotsu), preeminent in wisdom, and Mahakashyapa (Makakasho), preeminent in keeping the precepts, guard practitioners of the faith. Among the celestial guardians are Brahma (Bonten), Indra (Taishaku-ten); gods of sun, moon, and the morning and evening stars. Some others who were once inimical to the Buddha later became firm believers in the Lotus Sutra. Among them are the Wheel-Turning King, the king of the Ashura, Devadatta, King Ajatashatru, and the Dragon King.

8. The Mother of the Demon Children (Kishimojin) and the Ten Demon Daughters (Ju-Rasetsunyo) are positioned on either side of the Daimoku. The Mother of the Demon Children is worshipped as a goddess of child rearing and property acquisition. The Ten Demon Daughters and their mother are protectors of the Lotus Sutra.

9. Certain Shinto deities guard believers in the Lotus Sutra and Japan as a land where its teachings are propagated. Indigenous to Japan before the arrival of Buddhism, they are Amaterasu Omikami, sun goddess and ancestral deity of the Japanese imperial line, and the martial protector deity Hachiman Dai-Bosatsu.

10. Vigilantly guarding the World of Faith in the Lotus Sutra expressed in the Mandala Honzon are the Radiant Kings Acala (Fudo) and Ragaraja (Aizen), both represented by Sanskrit letters. Also on guard are the Guardians of the Four Cardinal points (Jikoku-ten, Bishamon-ten, Zojo-ten, and Komoku-ten).

11. Nichiren's signature and cipher (kao) invariably appear on his Mandala Honzon. The cipher, an abbreviated form a personal name, first came into use in Tang-dynasty China (618–907). Later the Japanese used and developed it. Ordinarily it appeared alone as a substitute for a signature. Later it became common to use the two together. Sometimes, to symbolize the individual's life, ciphers were developed from kanji other than the ones used in the personal name.

12. As firm evidence of his having inscribed them himself, Nichiren Shonin always used both his signature and his cipher on his Mandala Honzon.

13. The letters used to form Nichiren Shonin's cipher have long been a controversial topic. Some believe it is made up of Sanskrit letters ban and boron . I believe it is a version of the kanji myo found in the Daimoku. Many of his disciples used that kanji as a basis for their ciphers.

14. The text called the “Sammon” discusses the precious cause behind the Mandala Honzon. Its meaning is as follows: “This precious Mandala Honzon has not been seen in the boundless universe for the long period of more than 2,220 years since the Buddha attained Nirvana.”

15. In April 1280, when he inscribed this Mandala Honzon, Nichiren Shonin was 59 years old. He had been living in a remote mountainous place for seven years and was not in good health. It is said to have taken him a whole day to produce this piece of calligraphy.

16. The Honzons many of his disciples received from him were a source of comfort and reinforced faith. When hard times struck, his disciples felt the constant, boundless protection of the Buddha from the Honzons, which they folded up small and carried about with them. Just as the faithful do today, they arranged Buddhist altars where they made offerings of flowers, incense, and lights and where they enshrined these Honzons as encouragement in their belief in the Lotus Sutra.

17. Nichiren Shonin's long path of encouraging the practice of chanting Daimoku was a rough one.The nation was ruled then by the Kamakura Shogunate, dominated by regents belonging to the Hojo family. In 1253, Nichiren wrote and addressed to the shogunate Rissho-ankoku-ron (On establishing the correct teaching for the tranquility of the nation) , in which he argues that tranquility can be brought to the land only if all the people believe in true Buddhism centered on the Lotus Sutra.

18. In the 13th century, Japanese society was in turmoil caused by a series of natural disasters including earthquakes, typhoons, floods, and famine. In addition continuous political and armed conflicts made it impossible for the people to live in peace. Political leaders were totally unable to find a way out of these circumstance.

19. Nichiren Shonin insisted that thorough belief in Buddhism, with faith in the Lotus Sutra at its pinnacle, would put an end to natural disasters and conflicts and restore peace. To this end,however, all teachings destructive of the essential correct Buddhist faith must be rejected.

20. His attitude aroused the animosity of believers in teachings other than the Lotus Sutra, for instance, the Jodo-shu ( Pure Land sect), which advocated chanting the name of the Buddha Amitabha (Nembutsu). Consequently, Nichiren Shonin was subjected to violent religious persecution on several occasions.

21. The Four Great Persecutions, all mortally dangerous, took place at Matsubagayatsu, Izu, Komatsubara, and Tatsunokuchi. After the last of the four, Nichiren Shonin was exiled for three bitter years to the remote, isolated island of Sado .

22. Arrested by shogunate soldiers on the evening of September 12, 1271, and sentenced to exile to Sado as a criminal, he was instead taken to an execution grounds at Tatsunokuchi, eight kilometers from Kamakura . Just as he was about to be executed, however, his life was saved by a miracle.

23. Being saved by his faith in the Lotus Sutra, the propagation of which had brought on his persecution, deeply moved Nichiren Shonin and made his faith firmer than ever. The seven- kanji Daimoku, which he himself chanted and which he encouraged others to chant, now appeared before him radiant with light.

24. On his way to Sado, he stopped for a month at a place called Echi. On October 9, the day before he finally set out for Sado, he inscribed the Daimoku, radiant as he had seen it and protected by the Radiant Kings Fudo and Aizen.

25. After three years on Sado, Nichiren Shonin was allowed to return to Kamakura , whence he soon set out for Mount Minobu , where he lived for nine years. In September, 1282, he became so seriously ill that he removed to Ikegami, in modern Tokyo , where, on October 13, at the age of 61, he ended his turbulent life.

26. For 12 years on Sado and at Mount Minobu , Nichiren Shonin inscribed many Mandala Honzons for his disciples. They all reveal the world of the Buddha on this Earth and shine the light of Daimoku on everything in the cosmos. We pray to the Mandala Honzon that, as in the past so in the present and future, the Buddha's charity will be bestowed on everything and that the immutable, eternal world will be made manifest.

27. Gold is the symbolic color of Buddhism. The body of the Buddha and the Pure Land itself is bathed in the golden radiance.

28. Although seen with the physical eye, only the black ink, seen with the Daimoku eye of the spirit, the Mandala Honzon gleams pure gold. Let us pray to it that, as the sun illumes all things, so the brilliance of the Daimoku will clearly light the cosmos and realize a wonderful Pure Land of Peace for all humanity.

(END)