page_title: Guanyin
section_title: Iconography
hierarchical_section_title: Guanyin / Depiction / Iconography
caption_attribution_description: English: Eleven-faced Goddess of Mercy (絹本著色十一面観音像, kenpon choshoku jūichimen kannonzō). Hanging scroll. Color on silk. Located in the Nara National Museum, Nara, Japan.
context_page_description: Guanyin, Guan Yin or Kuan Yin is the most commonly used Chinese translation of the bodhisattva known as Avalokiteśvara. Guanyin is the Buddhist bodhisattva associated with compassion. In the East Asian world, Guanyin is the equivalent term for Avalokitesvara Bodhisattva. Guanyin also refers to the bodhisattva as adopted by other Eastern religions. She was first given the appellation of "Goddess of Mercy" or the Mercy Goddess by Jesuit missionaries in China. The Chinese name Guanyin is short for Guanshiyin, which means "[The One Who] Perceives the Sounds of the World." On the 19th day of the 6th lunar month Guan Shi Yin's attainment of Buddhahood is celebrated.
  Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus, and then sent to the western Pure Land of Sukhāvatī. Guanyin is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her, as is said in the Lotus Sutra and Karandavyuha Sutra.
context_section_description: Representations of the bodhisattva in China prior to the Song dynasty (960–1279) were masculine in appearance. Images which later displayed attributes of both genders are believed to be in accordance with the Lotus Sutra, where Avalokitesvara has the supernatural power of assuming any form required to relieve suffering, and also has the power to grant children. Because this bodhisattva is considered the personification of compassion and kindness, a mother goddess and patron of mothers and seamen, the representation in China was further interpreted in an all-female form around the 12th century. On occasion, Guanyin is also depicted holding an infant in order to further stress the relationship between the bodhisattva, maternity, and birth. In the modern period, Guanyin is most often represented as a beautiful, white-robed woman, a depiction which derives from the earlier Pandaravasini form.
  In some Buddhist temples and monasteries, Guanyin's image is occasionally that of a young man dressed in Northern Song Buddhist robes and seated gracefully. He is usually depicted looking or glancing down, symbolising that Guanyin continues to watch over the world.
  In China, Guanyin is generally portrayed as a young woman wearing a flowing white robe, and usually also necklaces symbolic of Indian or Chinese royalty. In her left hand is a jar containing pure water, and the right holds a willow branch. The crown usually depicts the image of Amitābha.
  There are also regional variations of Guanyin depictions. In Fujian, for example, a popular depiction of Guanyin is as a maiden dressed in Tang hanfu carrying a fish basket. A popular image of Guanyin as both Guanyin of the South Sea and Guanyin with a Fish Basket can be seen in late 16th-century Chinese encyclopedias and in prints that accompany the novel Golden Lotus.
  In Chinese art, Guanyin is often depicted either alone, standing atop a dragon, accompanied by a white cockatoo and flanked by two children or two warriors. The two children are her acolytes who came to her when she was meditating at Mount Putuo. The girl is called Longnü and the boy Shancai. The two warriors are the historical general Guan Yu from the late Han dynasty and the bodhisattva Skanda, who appears in the Chinese classical novel Fengshen Yanyi. The Buddhist tradition also displays Guanyin, or other buddhas and bodhisattvas, flanked with the above-mentioned warriors, but as bodhisattvas who protect the temple and the faith itself.
caption: Guanyin as a male bodhisattva. Eleven faced Ekādaśamukha form. Japan, 12th century
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