This fourth volume concludes the series on “The Mandala in Nichiren Tradition” and is mainly intended as a photographic reference to further study the immense extant mandalic cor-pus produced over eight centuries. For those who are unfamiliar with the Nichiren mandala, it is recommended to study the contents of the previous three volumes. This book is mainly intended for study of the Nichiren mandala in the various lineages. While several issues have been exhaustively discussed in other publications, few notions have been added regarding the Hokke-shū, the Fuju-fuse ha, the kōmon-ha for easier reference to the reader. The mandalas are catalogued by each main tradition and divided by the three important geographic areas, namely the eastern kantō region, the Fuji area and Kyoto. The kantō includes Tokyo (Musashi), Yamanashi (Kai) and Chiba (Shimofusa), hence the main temples Minobusan Kuon-ji, Ikegami Honmon-ji, Hiraga Hondo-ji, Nakayama Hokekyō-ji, and Hota Myōhon-ji. Visual analysis of the mandalas has been already discussed in “Nichiren’s Mandala as Art-work” (2022). While some of the principles clarified in the book have been also applied to this volume, the focus here is the reading of lineage identity through inscriptions on the mandala. These can be the depicted figures on the transformation tableau or additional quotations from the scriptures, messages contained in laudatory epitaphs or bestowal inscriptions and dates.