Guanyin+(Kuan-yin)+of+a+Thousand+Arms+and+Eyes

Enlarged, High Resolution View

On display at the National Palace Museum in Taipei, Taiwan

Title: Kuan Yin of a Thousand Arms and Eyes Artist: Anonymous Date: 960-1279 Period: Sung Dynasty Country of Origin: China Cultural/Ethnic Affiliation: Chinese Medium: Ink and colors on silk Dimensions: 176.8 x 76.2 cm Museum/Collector:[| National Palace Museum] Accession Number: Current Location and Manner of Display:

//﻿The Female bodhisattva Kuan Yin is known for compa////sssion, mercy as well as a gentle// //protectoress.// In Buddhist religion @Kuan Yin is a widely popular Bodhisattva known by many names depending upon the region, e.g. in Japan as Kannon and India as [|Avalokitesvara]. As well as the name variations by culture so does the gender of Guanyin. Ideally pictured as a male bodhisattva in India, the portrayal of Guanyin in China tends to ne feminine or androgynous. In Chinese, Kuan Yin's name translates to "perciever of sounds", this signifies the bodhisattva's embodiment of ultimate compassion and capability of hearing and assisting all those in need who call upon the Bodhisattva. Kuan Yin's popularity grew around the fourth and fifth centuries when the Lotus Sutra was in circulation among the Chinese population (Wang, p. 219). Kuan Yin's presence in the Lotus Sutra resulted in the bodhisattva's extensive adoration, including a chapter devoted to the description of the Bodhisattva's compassion and heroic nature through incantation and manifestation. Kuan Yin has become such a popular figure among believers because of the Bodhisattva's ability to manifest itself to aid in any situation of need upon incantation.
 * Introduction**

This image depicts the Thousand-armed form of Kuan Yin, which is an important Esoteric Buddhism form of Avalokitesvara (Chou). //The legend of how Kuan yin received a// //th////ousand arms and eyes even represents her compassion for others.// Vowing to help those in need whenever she hears their cries and sees their sorrows, because of this she is sometimes depicted with over a thousand arms and eyes.Many other deity images can be found pictured with Guanyin,such as Amitabha Buddha which is commonly found above Guanyins head. Guanyin is almost always seen dressed in white as well which symbolizes her purity.
 * This introduction needs to be rewritten.**



What is this image for?

As the largest and most visually interesting figure, Kuan Yin is the main focus of this relatively large hanging scroll. The silk scroll is hung vertically in a rectangular shape illustrated meticulously by means of ink. Kuan Yin is shown calmly upon a lotus flower with both feet rendered in a peculiar way, the heels appear raised up off of the lotus, as if the Bodhisattva is floating just above it. The lotus itself is being held up and protected by four heavenly kings with watchful eyes are left formless in a mess of colorful ribbon-like drapery. This waterfall style drapery is a characteristic of the painting style of the southern Sung Dynasty, and is shown clothing all figures, though some more extravagantly than others. In one set of the Bodhisattva's hands rests a decorated container housing a small jewel in flames. This jewel could represent the Triratana symbol of the triple gems in Buddhism, because in many representations flames surround it. In addition to Kuan Yin's elegant drapery, the Bodhisattva is wearing an overwhelming amount of detailed jewelry. The most fascinating piece Kuan Yin wears is the ornate crown holding up the Bodhisattva's 27 additional heads (not including the four heads on both sides of the main head). The 27 small heads are stacked up in a triangle shape pulling the focus up to a small Amitabha Buddha (also in a triangular position) further pulling the focus up to the point of the teardrop shape outline which contains Kuan Yin. The teardrop shape resembles a lotus petal and points up again to a larger Amitabha Buddha, the main Buddha affiliated with the Pure Land sect of Buddhism. Kuan Yin is also associated with Amitabha Buddha and this sect as the one who leads the faithful to Amitabha for entrance into the Pure Land. The uppermost image of Amitabha shows him seated atop a lotus flower among swirling clouds. The robe the Buddha is wearing is in the same waterfall style and appears to have a print on it that is difficult to make out because of the fading and cracking of the scroll. A ring of light surrounds the Buddha and the gesture being made with the right hand resembles the karana mudra, which is meant to expel demons (Knierim).
 * Descriptive Analysis**

Two additional sets of swirling clouds flank the point of the teardrop/lotus petal shape containing Kuan Yin. In the clouds sit ten Buddhas, five on each side, clothed in flowing robes performing different mudras. Following the teardrop shape down back to the base where the four heavenly kings dwell, a water scene is presented. The waves are broken up by gatherings of more auspicious clouds beneath figures. Closest to Kuan Yin are two sets of Bodhisattva attendants, dressed in a similar fashion with minor differences in attributes and hand gestures. Below the two sets of attendants are eight Deva Kings dressed in elaborate garments with rings of light encircling their heads. All eight of the Deva Kings have their hands clasped together looking up to Kuan Yin except for two, who look in different directions. Bringing the focus back to Kuan Yin and the teardrop shape that encloses the image, countless hands can be seen. Each of the hands holds an eye in the palm, or one of the many symbolic attributes of Buddhism. Around the edges inside of the tear drop shape are small transparent circles contain the symbols of astrological signs. Near the center of the image is a set of two slightly larger transparent circles, one white and one red. These circles are thought to represent the sun and the moon. The symmetrical composition of this image is featured several times throughout the painting. Aside from the symmetrical distribution of the figures, two large red staffs frame Kuan Yin, two mythological creatures cut out through both sides of the teardrop outline and two waves of incense smoke rise up in opposite directions. There also seems to be some sporadic correspondence in the positioning of the different Buddhist symbols.

Kuan Yin is seen doing the Namaste gesture with downcast eyes, this can be assumed as a kind greeting or that of meditation. The hands on her body are seen doing many other symbolic signs and others are holding ritualistic objects. Along with many gestures, her hands and body are ornamented with jewelry and rosaries which is a common association seen with Kuan Yin. Here you should also describe the various attributes and mudras or at least give a general overview about them.




 * Formal and Contextual Analysis**

The thousand armed and eyed form of the Bodhisattva is expressing the symbolic meaning of the dedication of Kuan Yin to the devotees that call out to the Bodhisattva when they are in need of help. The thousands of arms represent the many manifestations Kuan Yin undergoes to aid each individual situation. Examples of different manifestations and situations are outlined in the 25th chapter of the Lotus Sutra (Wang 221). The thousand eyes in the palms of Kuan Yin symbolically perceive the struggles of the devotees and search out to attend to them. There are many Buddhists who call upon Kuan Yin with many problems, and this image is conveying the idea of Kuan Yin's compassion, helpfulness and availability to the faithful. --Okay you said this above. What is the source and specific meaning behind the 1,000 Armed form that is represented here?

This work is inherently Buddhist and includes multiples and counterparts of many symbols in Buddhist imagery. Some of the most easily identifiable include: the Dharmachakra wheel, the conch shell, pieces of coral, small trees and lotus flowers, various staffs, a bronze bell, offering bowls, rope, a small shrine, a fountain and small groupings of Bodhisattvas. All of these symbols would be identifiable to those who practiced Buddhism during the time this scroll was made. In examining this image, it can be speculated that the lines created by the positioning of the figures could be a tool in meditation on the path to the Pure Land. One might meditate on Kuan Yin to lead the devotee to Amitabha and thus to the Pure Land.

Guanyin is also seen with a moustache but with female characteristics. In India Kuan Yin is known as Avolokitesvara which is the male figure. Avolokita means "seeing or gazing down", which could be a correlation as to why Kuan Yin is pictured with downward cast eyes. Being that her hands are clasped in a rosary could be symbolic to her devotion and commitment to Buddhism and its beliefs. Traditionally Kuan Yin is pictured in white clothing, but this style expresses bright vivid colors this could be associated with Chinese art of that time. The Sung Dynasty deemed the " golden era of Chinese painting."

The thousand arms of Kuan Yin are seen doing Buddhists mudras. Mudras are spiritual gestures that are symbolically used in portraying a deeper meaning. A few of the mudra shown in this painting are Abhaya the gesture of protection (also known as the gesture of fearlessness, blessing or fearless mudra) Vitarka the gesture of argument (also known as The Gesture of Debate or discussion mudra) Varada the gesture of charity (also known as gift bestowing gesture of compassion, conferring boon, or grace mudra) Shramanamudra the gesture of ascetic (also known as the renunciaiton mudra) Cincihna the gesture of understanding, Tarjana the gesture of threatening (also known as the warning mudra) Karana the gesture of banishing (also known as the gesture warding off evil) Buddhashramana the gesture beyond misery, Tarpana the performance of homage gesture, Harina the lion gesture, Jnana the gesture of knowledge, Kartari the gesture of discord, Avakasha the gesture of leisure, Kataka the flower-holding gesture,  Dhyana the gesture of meditation, Dharmacakrapravartana the gesture of teaching, Vajrahumkara the embracing gesture (also known as the Om sound gesture –the hands holding bells symbolizing the one holding them are female, Vajramudra the gesture of knowledge fist, Uttarabodhi the gesture of perfection (also known as the best-perfection mudra) Kshepana the gesture of nectar sprinkling (also known as the sprinkling of ambrosia mudra) the Namaskara or Anjali the gesture of praying (also known as the simple Namaste position) Manidhara the gesture of holding the jewel, and Bhutadamara the warding off evil gesture (also known as Trailokyavijaya or awe-inspiring mudra.) (Buddha Collection) T he combination of such mudra whilst holding objects employ a deeper meaning, as shown in the painting. --source of information. There is a standard set of 40 or 42 attributes given in texts

Upon viewing this painting, I found it to be visually startling. The hands surrounding Kuan Yin create motion in the painting conveying the idea that Kuan Yin is always active and present for her devotees. Although an ordinary color pallate was used throughout the piece, I found it to be unifying and interesting. Overall, the artwork's symmetry and use of many symbols and figures made viewing the scroll an engaging and meditative process.
 * Personal Interpretation**

With a name that signifies her kind behavior Kuan Yin expresses many Buddhist philosophies by use of Karuna, which is one of the four “divine abodes”. Her compassion is not only limited to men, but also to animals as Kuan Yin is commonly seen as an advocate for Vegetarianism. She is not only a symbolism of the embodiment of female characteristics by being compassionate, but her transformation and androgynous features reflect a universal unity. I believe this unity between Kuan Yin and Avolokitesvra keeps a good balance between the two bodhisattva's to help aid Buddhist principles.


 * References**

Printed Sources:

Chamberlayne, John H. "The Development of Kuan Yin: Chinese Goddess of Mercy." //Numen// 9.1 (1962): 45.

Tay, C. N. //Kuan-yin: the Cult of Half Asia//. [Chicago]: University of Chicago, 1976.

Wang, Eugene Yuejin. //Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China//. Seattle, WA: University of Washington, 2005.

//**Craven, Roy C. **Indian Art (World of Art Series). London: Thames & Hudson, 1997//


 * Tregear, Mary. **Chinese Art (World of Art Series). London: Thames & Hudson, 1997

// **Stanley-Baker, Joan. ** //Japanese Art (World Art Series). //London: Thames & Hudson, 2000//

Other sources that need to be consulted for the revision of this entry: Chandra, Lokesh. //The Thousand-Armed Avalokitesvara//. New Delhi: Shakti Malik Abhinav publications, 1988. see UM library Yü, Chü-fang. Kuan-Yin. //The Chinese Transformation of Avalokiteßvara//. Chichester, West Sussex: Columbia University Press, 2001.

Online Sources:

Dr. Chou, Kung-shin. Kuan Yin of a Thousand Arms and Eyes. Museum Description. //Kuan Yin of a Thousand Arms and Eyes//. National Palace Museum. Taipei, Taiwan.[]

Knierim, Thomas. "Buddhist Symbols and Mudras (Gestures of the Buddha)." //Thebigview.com - Pondering the Big Questions//. Web. 10 Dec. 2010. .

//**Buddha Collection - The Villa Del Prado Light of Asia Collection. **"Explanation of Buddhist Mudras." Buddhas Online. [] //


 * National Palace Museum. **"Kuan-Yin of a Thousand Arms and Eyes." National Palace Museum. []

Image Sources:

"Seated Senju-Kannon" Flickr, [] (July 2005)

//**National Palace Museum. **"Kuan-Yin of a Thousand Arms and Eyes." National Palace Museum. [] //

// "GuanYin deity." Flickr, [] (March 2003) //