04-14-2011, 12:00 AM
Buddhism
Is the Mirror That Perfectly Reflects Our Lives
Another Gosho states: "A bronze mirror
may reflect the body but not the mind. The mirror of the Lotus Sutra reflects
not only our physical form but our inner being as well. Furthermore, the
sutra mirrors, with complete clarity, one’s past karma and its future effect"
(Gosho Zenshu, p. 1521).
Mirrors reflect our outward form.
The mirror of Buddhism, however, reveals the intangible aspect of our lives.
Mirrors, which function by virtue of the laws of light and reflection,
are a product of human wisdom. On the other hand, the Gohonzon, based on
the Law of the universe and life itself, is the culmination of the Buddha’s
wisdom and makes it possible for us to attain Buddhahood by providing us
with a means of perceiving the true aspect of our life.
Just as a mirror is indispensable
for putting your face and hair in order, you need a mirror that reveals
the depths of your life if you are to lead a happier and more beautiful
existence.
Incidentally, as indicated in the
Daishonin’s reference to a bronze mirror in the above Gosho passage, mirrors
in ancient times were made of polished metal alloys such as bronze, nickel,
and steel.
The oldest metallic mirrors to be
unearthed were found in China and Egypt. Older still are mirrors made of
polished stone surfaces and those that used water. Suffice it to say that
the history of mirrors is as old as that of the human race. It is perhaps
an inborn human instinct to want to look at one’s own face.
These ancient mirrors, unlike today’s
mirrors that are made of glass, could only produce somewhat blurred reflections
of images. Consequently, the first glance in a glass mirror caused a great
sensation.
The first time the Japanese encountered
a glass mirror was in 1551. Francis Xavier is credited with having brought
one with him when he came to do missionary work in Japan.
But it was not until the eighteenth
century — toward the latter half of the Edo period — that the average Japanese
became acquainted with this kind of mirror. Perhaps because it performed
its function all too well, causing people to do nothing but gaze in the
mirror all day long, the glass mirror came to be known as the "vanity mirror"
among the people of the day. Many ukiyo-e prints depict Japanese
beauties gazing into mirrors. Still, it was not until the latter half of
the nineteenth century — during the Meiji era — that glass mirrors came
into wide use among the general populace.
Polish the
Mirror of Your Life
Bronze mirrors not only reflected
poorly but also tarnished very quickly. Threfore, unless they were polished
regularly, they became unusable. This kind of mirror was popular during
the Kamakura era during which the Daishonin lived.
In the Gosho "On Attaining Buddhahood,"
Nichiren Daishonin writes: "Even a tarnished mirror will shine like a jewel
if it is polished. A mind which presently is closed by illusions originating
from the innate darkness of life is like a tarnished mirror, but once it
is polished it will become clear, reflecting the enlightenment of immutable
truth" (MW-1, 5). In this well-known passage, the Daishonin draws
parallels between the tradition of mirror-polishing and the process of
attaining Buddhahood.
Originally, every person’s life is
a brilliantly shining mirror. Differences arise depending on whether or
not one polishes this mirror. A polished mirror is the Buddha’s life, whereas
a tarnished mirror is that of a common mortal. Chanting Nam-myoho-renge-kyo
is what polishes our life. Not only do we undertake this practice ourselves,
we also endeavor to teach others about the Mystic Law so that the mirror
of their lives shines brightly, too. Thus, it can be said that we are masters
of the art of polishing the mirror of life.
Even though people may make up their
faces, they tend to neglect to polish their lives. While they quickly wash
off a stain from their faces, they remain unconcerned about stains in their
lives.
The Tragedy
of a Handsome Youth
The British author Oscar Wilde (1856-1900)
wrote a novel titled The Picture of Dorian Gray. To offer a very
brief explanation, the novel’s protagonist is a youth named Dorian Gray
who is so handsome that he is called a "young Adonis."
An artist who wished to preserve his
beauty for eternity painted Dorian’s portrait. It was a brilliant work,
an embodiment of his youthfulness and beauty. But something incredible
occurred as Dorian was gradually tempted by a friend into a life of hedonism
and immorality. His beauty did not fade. Although he advanced in years,
he remained as youthful and radiant as ever. Miraculously, however, the
portrait began to turn ugly and lusterless, reflecting the condition of
Dorian’s life.
At length, making sport of a young
woman’s affections, Dorian drove her to commit suicide. At that time there
appeared on the face of the portrait an expression — wicked, savage and
frightening. Dorian was filled with horror. This portrait of his soul would
remain for aeons in this ugly form. Even if he died, the portrait would
continue to eloquently tell the truth.
He determined to obliterate the portrait,
believing that if only he could do away with it, he could part with his
past and be free. Dorian plunged a knife into the painting. At that moment,
hearing screams, his neighbors rushed over to find a portrait of the handsome
and young Dorian and, collapsed before it, an aged, repulsive-looking man,
Dorian, with a knife sticking in his chest.
The portrait, in other words, had
expressed the semblance of his existence, the face of his soul, into which
the effects of his actions were etched, without the slightest omission.
Though cosmetics can be applied to
the face, one cannot gloss over the face of his soul. The law of cause
and effect functioning in the depths of life is strict and impartial.
Buddhism teaches that unseen virtue
brings about visible reward. In the world of Buddhism, one never fails
to receive an effect for his actions — whether for good or bad; therefore,
it is meaningless to be two-faced or to try to put on airs.
The "face of the soul" that is carved
out by the good and evil causes one makes is to an extent reflected in
ones appearance. There is also a saying, "The face is the mirror of the
mind." It is, however, at the moment of death that one’s past causes show
most plainly in one’s appearance.
Just as Dorian in the end revealed
his own inner ugliness, so the "face of one’s life" is fully expressed
at the time of one’s death. At that time there is no way
to conceal the
truth of your soul. We carry out our Buddhist practice now so that we will
not have to experience any regret or torment on our deathbed.
Just as you look into a mirror when
you make up your face, to beautify "the face of the soul," you need a mirror
that reflects the depths of your life. This mirror is none other than the
Gohonzon of "observing one’s mind," or more precisely, observing one’s
life.
Is the Mirror That Perfectly Reflects Our Lives
Another Gosho states: "A bronze mirror
may reflect the body but not the mind. The mirror of the Lotus Sutra reflects
not only our physical form but our inner being as well. Furthermore, the
sutra mirrors, with complete clarity, one’s past karma and its future effect"
(Gosho Zenshu, p. 1521).
Mirrors reflect our outward form.
The mirror of Buddhism, however, reveals the intangible aspect of our lives.
Mirrors, which function by virtue of the laws of light and reflection,
are a product of human wisdom. On the other hand, the Gohonzon, based on
the Law of the universe and life itself, is the culmination of the Buddha’s
wisdom and makes it possible for us to attain Buddhahood by providing us
with a means of perceiving the true aspect of our life.
Just as a mirror is indispensable
for putting your face and hair in order, you need a mirror that reveals
the depths of your life if you are to lead a happier and more beautiful
existence.
Incidentally, as indicated in the
Daishonin’s reference to a bronze mirror in the above Gosho passage, mirrors
in ancient times were made of polished metal alloys such as bronze, nickel,
and steel.
The oldest metallic mirrors to be
unearthed were found in China and Egypt. Older still are mirrors made of
polished stone surfaces and those that used water. Suffice it to say that
the history of mirrors is as old as that of the human race. It is perhaps
an inborn human instinct to want to look at one’s own face.
These ancient mirrors, unlike today’s
mirrors that are made of glass, could only produce somewhat blurred reflections
of images. Consequently, the first glance in a glass mirror caused a great
sensation.
The first time the Japanese encountered
a glass mirror was in 1551. Francis Xavier is credited with having brought
one with him when he came to do missionary work in Japan.
But it was not until the eighteenth
century — toward the latter half of the Edo period — that the average Japanese
became acquainted with this kind of mirror. Perhaps because it performed
its function all too well, causing people to do nothing but gaze in the
mirror all day long, the glass mirror came to be known as the "vanity mirror"
among the people of the day. Many ukiyo-e prints depict Japanese
beauties gazing into mirrors. Still, it was not until the latter half of
the nineteenth century — during the Meiji era — that glass mirrors came
into wide use among the general populace.
Polish the
Mirror of Your Life
Bronze mirrors not only reflected
poorly but also tarnished very quickly. Threfore, unless they were polished
regularly, they became unusable. This kind of mirror was popular during
the Kamakura era during which the Daishonin lived.
In the Gosho "On Attaining Buddhahood,"
Nichiren Daishonin writes: "Even a tarnished mirror will shine like a jewel
if it is polished. A mind which presently is closed by illusions originating
from the innate darkness of life is like a tarnished mirror, but once it
is polished it will become clear, reflecting the enlightenment of immutable
truth" (MW-1, 5). In this well-known passage, the Daishonin draws
parallels between the tradition of mirror-polishing and the process of
attaining Buddhahood.
Originally, every person’s life is
a brilliantly shining mirror. Differences arise depending on whether or
not one polishes this mirror. A polished mirror is the Buddha’s life, whereas
a tarnished mirror is that of a common mortal. Chanting Nam-myoho-renge-kyo
is what polishes our life. Not only do we undertake this practice ourselves,
we also endeavor to teach others about the Mystic Law so that the mirror
of their lives shines brightly, too. Thus, it can be said that we are masters
of the art of polishing the mirror of life.
Even though people may make up their
faces, they tend to neglect to polish their lives. While they quickly wash
off a stain from their faces, they remain unconcerned about stains in their
lives.
The Tragedy
of a Handsome Youth
The British author Oscar Wilde (1856-1900)
wrote a novel titled The Picture of Dorian Gray. To offer a very
brief explanation, the novel’s protagonist is a youth named Dorian Gray
who is so handsome that he is called a "young Adonis."
An artist who wished to preserve his
beauty for eternity painted Dorian’s portrait. It was a brilliant work,
an embodiment of his youthfulness and beauty. But something incredible
occurred as Dorian was gradually tempted by a friend into a life of hedonism
and immorality. His beauty did not fade. Although he advanced in years,
he remained as youthful and radiant as ever. Miraculously, however, the
portrait began to turn ugly and lusterless, reflecting the condition of
Dorian’s life.
At length, making sport of a young
woman’s affections, Dorian drove her to commit suicide. At that time there
appeared on the face of the portrait an expression — wicked, savage and
frightening. Dorian was filled with horror. This portrait of his soul would
remain for aeons in this ugly form. Even if he died, the portrait would
continue to eloquently tell the truth.
He determined to obliterate the portrait,
believing that if only he could do away with it, he could part with his
past and be free. Dorian plunged a knife into the painting. At that moment,
hearing screams, his neighbors rushed over to find a portrait of the handsome
and young Dorian and, collapsed before it, an aged, repulsive-looking man,
Dorian, with a knife sticking in his chest.
The portrait, in other words, had
expressed the semblance of his existence, the face of his soul, into which
the effects of his actions were etched, without the slightest omission.
Though cosmetics can be applied to
the face, one cannot gloss over the face of his soul. The law of cause
and effect functioning in the depths of life is strict and impartial.
Buddhism teaches that unseen virtue
brings about visible reward. In the world of Buddhism, one never fails
to receive an effect for his actions — whether for good or bad; therefore,
it is meaningless to be two-faced or to try to put on airs.
The "face of the soul" that is carved
out by the good and evil causes one makes is to an extent reflected in
ones appearance. There is also a saying, "The face is the mirror of the
mind." It is, however, at the moment of death that one’s past causes show
most plainly in one’s appearance.
Just as Dorian in the end revealed
his own inner ugliness, so the "face of one’s life" is fully expressed
at the time of one’s death. At that time there is no way
to conceal the
truth of your soul. We carry out our Buddhist practice now so that we will
not have to experience any regret or torment on our deathbed.
Just as you look into a mirror when
you make up your face, to beautify "the face of the soul," you need a mirror
that reflects the depths of your life. This mirror is none other than the
Gohonzon of "observing one’s mind," or more precisely, observing one’s
life.