Many Japanese American Buddhist families in the San Jose, California area observe a series of late life celebrations in honor of their elders. The sixty-first, the seven-tieth, the seventy-seventh, and eighty-eighth birthdays are celebrated with special flourish. These celebrations mark milestones in life and underscore the respect and gratitude elders are accorded by the family and community. At these gatherings the talk among family and guests invariably turns to the life of the elder and they wonder how the elder was able to survive and even flourish amid the hard- ships and setbacks during his or her long life. Indeed, long-lived elders do seem to have a presence of being that can only come from many years of living. The idea of kyogai, “one's station in life,” is especially revered in the elder. Ordinarily, kyogai refers to one's place in society. Kyogai also suggests the spiritual maturity of being able to live with equanimity and ease in a transient and interdependent world. For Shiryu Morita (1912– ), a leading Japanese sho-artist or calligrapher and student of Buddhist thought and practice, kyogai is both a spiritual and an aesthetic quality. I reflect on Morita's notion of kyogai within the context of the Buddha's attitude toward aging and elders. I offer my reflections as a Buddholo- gist interested in elder ethics and as a Buddhist priest concerned with caring for and empowering elders. I begin with a description of the Buddha's attitude toward aging and elders outlined in the Sutta-Nipata, an early Buddhist document. The “Salla Sutta” in the Sutta-Nipata outlines the Buddha's attitude toward old age, elders and elder tasks. Old age is linked to the question of death and the unease of living in a transient world, in the passages cited below (p. 68).1