Guanyin

Shrine to a Tang dynasty (896) carved stone statue of the Thousand-Armed Guanyin (Chinese: Qianshou Guanyin) in Shengshui Temple (內江聖水寺) in Neijiang, Sichuan, China

Guānyīn is a translation from the Sanskrit Avalokitasvara, the name of the Mahāyāna bodhisattva. Another name for this bodhisattva is Guānzìzài (simplified Chinese: 观自在; traditional Chinese: 觀自在; pinyin: Guānzìzài), from Sanskrit Avalokiteśvara. It was initially thought that early translators mistook Avalokiteśvara as Avalokitasvara and thus mistranslated Avalokiteśvara as Guānyīn, which explained why Xuanzang translated Avalokiteśvara as Guānzìzài. However, the original form was indeed Avalokitasvara which contained morpheme svara ("sound, noise") and was a compound meaning "sound perceiver", literally "he who looks down upon sound" (i.e., the cries of sentient beings who need his help).[6][7][8] This is the exact equivalent of the Chinese translation Guānyīn. This etymology was furthered in the Chinese by the tendency of some Chinese translators, notably Kumārajīva, to use the variant Guānshìyīn, literally "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Skt. loka; Ch. 世, shì).[8]

Direct translations from the Sanskrit name Avalokitasvara include:

• Chinese: Guanyin (觀音), Guanshiyin (觀世音)[9]

Amoghapāśa Lokesvara (Japanese: Fukūkenjaku Kannon) with devas Brahma and Indra on either side dated to late 8th century) located at Tōdai-ji, Nara, Japan.

The name Avalokitasvara was later supplanted by the Avalokiteśvara form containing the ending -īśvara, which does not occur in Sanskrit before the seventh century. The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.[10] The original meaning of the name "Avalokitasvara" fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Śaivism, as the term īśvara was usually connected to the Hindu notion of Śiva as a creator god and ruler of the world.

While some of those who revered Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god,[11] Encyclopædia Britannica does cite Avalokiteśvara as the creator god of the world. This position is taken in the widely used Kāraṇḍavyūha Sūtra with its well-known mantra oṃ maṇi padme hūṃ.[5] In addition, the Lotus Sutra is the first time the Avalokiteśvara is mentioned. Chapter 25 refers to him as Lokeśvara "Lord God of all beings" and Lokanātha "Lord and Protector of all beings" and ascribes extreme attributes of divinity to him.

Direct translations from the Sanskrit name Avalokiteśvara include:

• Chinese: 觀自在; pinyin: Guānzìzài
• Tibetan: སྤྱན་རས་གཟིགས་དབང་ཕྱུ, THL: Chenrézik Wangchuk

Chapter 25: The Universal Gateway of Avalokiteśvara Bodhisattva (Published in Edo period)

The Lotus Sūtra (Sanskrit Saddharma Puṇḍarīka Sūtra) is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara.[13] These are found in the twenty fifth chapter of the Lotus Sūtra. This chapter is devoted to Avalokitesvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name.[14][15]

The Buddha answered Bodhisattva Akṣayamati, saying: “O son of a virtuous family! If innumerable hundreds of thousands of myriads of koṭis of sentient beings who experience suffering hear of Bodhisattva Avalokiteśvara and wholeheartedly chant his name, Bodhisattva Avalokiteśvara will immediately perceive their voices and free them from their suffering"

— The Lotus Sutra

Guanyin Bodhisattva, sitting in the lotus position, the damaged hands probably performing dharmacakramudra, a gesture that signifies the moment when Buddha put the wheel of learning in motion; painted and gilded wood, China, Song/Jin period, late 13th century

The Lotus Sutra describes Avalokiteśvara as a bodhisattva who can take the form of any type of god including Indra or Brahma; any type of Buddha, any type of king or Chakravartin or even any kind of Heavenly Guardian including Vajrapani and Vaisravana as well as any gender male or female, adult or child, human or non-human being, in order to teach the Dharma to sentient beings.[16] Folk traditions in China and other East Asian countries have added many distinctive characteristics and legends to Guanyin c.q. Avalokiteśvara. Avalokiteśvara was originally depicted as a male bodhisattva, and therefore wears chest-revealing clothing and may even sport a light moustache. Although this depiction still exists in the Far East, Guanyin is more often depicted as a woman in modern times. Additionally, some people believe that Guanyin is androgynous or perhaps without gender.[17]

A total of 33 different manifestations of Avalokitasvara are described, including female manifestations, all to suit the minds of various beings. Chapter 25 consists of both a prose and a verse section. This earliest source often circulates separately as its own sūtra, called the Avalokitasvara Sūtra (Ch. 觀世音經), and is commonly recited or chanted at Buddhist temples in East Asia.[14] The Lotus Sutra and its thirty-three manifestations of Guanyin, of which seven are female manifestations, is known to have been very popular in Chinese Buddhism as early as in the Sui and Tang dynasties.[18] Additionally, Tan Chung notes that according to the doctrines of the Mahāyāna sūtras themselves, it does not matter whether Guanyin is male, female, or genderless, as the ultimate reality is in emptiness (Skt. śūnyatā).[18]

Early Indian statue of Avalokitaśvara Bodhisattva; Gandhāra, 3rd century

Guanyin as a male bodhisattva. Eleven faced Ekādaśamukha form. Japan, 12th century

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.[19] 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. In Pure Land Buddhist traditions, Guanyin is often depicted and venerated with the Buddha Amitabha and the Bodhisattva Mahasthamaprapta as part of a trio collective called the "Three Saints of the West" (Chinese: 西方三聖; Pinyin: Xīfāng sānshèng).

According to the twenty-fifth chapter of the Lotus Sutra, one of the most popular sacred texts in the Buddhist canon, describes thirty-three specific manifestations that Guanyin can assume to assist other beings seeking salvation. These forms encompass a Buddha, a pratyekabuddha, an arhat, King Brahma, Sakra (Indra), Isvara, Mahesvara (Shiva), a great heavenly general, Vaiśravaṇa, a Cakravartin, a minor king, an elder, a householder, a chief minister, a Brahmin, a bhikkhu, a bhikkhunī, a Upāsaka, a Upāsikā, a wife, a young boy, a young girl, a deva, a nāga, a yaksha, a gandharva, an asura, a garuḍa, a kinnara, a Mahoraga, a human, a non-human and Vajrapani.[22][23] The Śūraṅgama Sūtra also mentions thirty-two manifestations of Guanyin, which follow closely those in the Lotus Sutra, with the omission of Vajrapani, and the substitution of Vaiśravaṇa (Heavenly King of the North) with the Four Heavenly Kings.[24][23] These manifestations of Guanyin have been nativized in China and Japan to form a traditional list of iconographic forms corresponding to each manifestation.[23]

Statue of the Eleven-Headed and Thousand-Armed Guanyin (Qiānshǒu Shíyīmiàn Guānyīn) with the 28 guardian devas associated with this manifestation at her sides; located at the Guanyin Shrine on Mount Putuo Guanyin Dharma Realm in Zhejiang Province, China

Guanyin is also venerated in various other forms. In the Chinese Tiantai and Tangmi and the Japanese Shingon and Tendai traditions, Guanyin can take on six forms, each corresponding to a particular realm of samsara. This grouping originates from the Mohe Zhiguan (Chinese: 摩訶止観; Pinyin: Móhē Zhǐguān) written by the Tiantai patriarch Zhiyi (538–597) and are attested to in various other textual sources, such as the Essential Record of The Efficacy of The Three Jewels (Chinese: 三寶感應要略錄; Pinyin: Sānbǎo Gǎnyìng Yàolüèlù).[25][26] They are:

1. Guanyin as Great Mercy (Chinese: 大慈觀音; pinyin: Dàcí Guānyīn), also known as Noble Guanyin (Chinese: 聖觀音; pinyin: Shèng Guānyīn), who corresponds to the preta realm.
2. Guanyin as Great Compassion (Chinese: 大悲觀音; pinyin: Dàbēi Guānyīn), also known as Thousand-Armed Guanyin (Chinese: 千手觀音; pinyin: Qiānshǒu Guānyīn), who corresponds to the hell realm.
3. Guanyin of the Universally Shining Great Light (Chinese: 大光普照觀音; pinyin: Dàguāng Pǔzhào Guānyīn), also known as Eleven-Headed Guanyin (Chinese: 十一面觀音; pinyin: Shíyīmiàn Guānyīn), who corresponds to the asura realm.
4. Guanyin as The Divine Hero (Chinese: 天人丈夫觀音; pinyin: Tiānrén Zhàngfū Guānyīn), also known as Cundī Guanyin (Chinese: 準提觀音; pinyin: Zhǔntí Guānyīn), who corresponds to the human realm.
5. Guanyin as Mahābrahmā the Profound (Chinese: 大梵深遠觀音; pinyin: Dàfàn Shēnyuǎn Guānyīn), also known as Cintāmaṇicakra Guanyin (Chinese: 如意輪觀音; pinyin: Rúyìlún Guānyīn), who corresponds to the deva realm.
6. Fearless Lion-like Guanyin (Chinese: 獅子無畏觀音; pinyin: Shīzǐ Wúwèi Guānyīn), also known as Hayagriva Guanyin (Chinese: 馬頭觀音; pinyin: Mǎtóu Guānyīn), who corresponds to the animal realm.

This wooden statue of Quan Âm Nghìn Mắt Nghìn Tay (Quan Am Bodhisattva with 1000 eyes and 1000 hands) was fashioned in 1656 in Bắc Ninh Province, northern Vietnam. It is now located in the History Museum in Hanoi.

In China, the Thousand-Armed manifestation of Guanyin is the most popular among her different esoteric forms.[27] In the Karandavyuha Sutra, the Thousand-Armed and Thousand-Eyed Guanyin (Chinese: 千手千眼觀音; pinyin: Qiānshǒu Qiānyǎn Guānyīn) is described as being superior to all gods and buddhas of the Indian pantheon. The Sutra also states that "it is easier to count all the leaves of every tree of every forest and all the grains of sand in the universe than to count the blessings and power of Avalokiteshvara". This version of Guanyin with a thousand arms depicting the power of all gods also shows various buddhas in the crown depicting the wisdom of all buddhas. In temples and monasteries in China, iconographic depictions of this manifestation of Guanyin is often combined with iconographic depiction of her Eleven-Headed manifestation to form statues with a thousand arms as well as eleven heads. The mantra associated with this manifestation, the Nīlakaṇṭha Dhāraṇī, is one of the most popular mantras commonly recited in East Asian Buddhism.[27] In Chinese Buddhism, the popularity of the mantra influenced the creation of an esoteric repentance ceremony known as the Ritual of Great Compassion Repentance (Chinese: 大悲懺法會; Pinyin: Dàbēi Chànfǎ Huì) during the Song dynasty (960-1279) by the Tiantai monk Siming Zhili (Chinese: 四明知禮; Pinyin: Sìmíng Zhīlǐ), which is still regularly performed in modern Chinese Buddhist temples in Mainland China, Hong Kong, Taiwan and overseas Chinese communities.[27] One Chinese Buddhist legend from the Complete Tale of Guanyin and the Southern Seas (Chinese: 南海觀音全撰; pinyin: Nánhǎi Guānyīn Quánzhuàn) presents Guanyin as vowing to never rest until she had freed all sentient beings from saṃsāra or cycle of rebirth.[28] Despite strenuous effort, she realised that there were still many unhappy beings yet to be saved. After struggling to comprehend the needs of so many, her head split into eleven pieces. The buddha Amitābha, upon seeing her plight, gave her eleven heads to help her hear the cries of those who are suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempted to reach out to all those who needed aid, but found that her two arms shattered into pieces. Once more, Amitābha came to her aid and appointed her a thousand arms to let her reach out to those in need. Many Himalayan versions of the tale include eight arms with which Avalokitesvara skillfully upholds the dharma, each possessing its own particular implement, while more Chinese-specific versions give varying accounts of this number. In Japan, statues of this nature can be found at the Sanjūsangen-dō temple of Kyoto.

In both Chinese Buddhism and Japanese Buddhism, Hayagriva Guanyin (lit. "Horse Headed Guanyin")[29] is venerated as a guardian protector of travel and transportation, especially for cars. His statue is placed at the entrance and exits of some Chinese Buddhist temples to bless visitors. In certain Chinese Buddhist temples, visitors are also allowed to have their license plates enshrined in front of an image of this deity to invoke his protection over their vehicle.[30] He is also counted as one of the 500 Arhats, where he is known as Mǎtóu Zūnzhě 馬頭尊者 (lit. "The Venerable Horse Head"). In Taoism, Hayagriva Guanyin was syncretized and incorporated within the Taoist pantheon as the god Mǎ Wáng 馬王 (lit. Horse King), who is associated with fire. In this form, he is usually portrayed with 6 arms and a third eye on the forehead.[31]

Statue of Cundī Guanyin (Zhǔntí Guānyīn) with 18-arms from the Mahavira Hall of Lingyin Temple in Hangzhou, Zhejiang, China.

Guanyin's Cundī manifestation is an esoteric form of Guanyin that is venerated widely in China and Japan. The first textual source of Cundī and the Cundī Dhāraṇī is the Kāraṇḍavyūhasūtra, a sūtra centered around the bodhisattva Avalokiteśvara that introduced the popular mantra oṃ maṇipadme hūṃ. This text is first dated to around the late 4th century CE to the early 5th century CE.[32] Cundī and the Cundī Dhāraṇī are also featured in the Cundī Dhāraṇī Sūtra, which was translated three times from Sanskrit into Chinese in the late 7th century and early 8th century by the Indian esoteric masters Divākara (685 CE), Vajrabodhi (723 CE), and Amoghavajra (8th century).[32] In iconographic form, she is depicted with eighteen arms, all wielding different implements and weaponry that symbolize skillful means of the Dharma, sitting on a lotus flower. This manifestation is also referred to as the "Mother of the Seventy Million [Buddhas]" (Chinese: 七俱胝佛母; pinyin: Qījùzhī fómǔ). Her mantra, the Mahācundi Dhāraṇī (Chinese: 準提神咒; pinyin: Zhǔntí Shénzhòu), is one of the Ten Small Mantras (Chinese: 十小咒; pinyin: Shí xiǎo zhòu), which are a collection of dharanis that are commonly recited in Chinese Buddhist temples during morning liturgical services specifically.[33][34]

Shrine to Cintāmaṇicakra Guanyin (Rúyìlún Guānyīn) in the Hall of Great Compassion in Jade Buddha Temple; Shanghai, China

Guanyin's Cintāmaṇicakra manifestation is also widely venerated in China and Japan. In iconographic form, this manifestation is often portrayed as having six arms, with his first right hand touches the cheek in a pensive mudra, his second right hand holds a wish granting jewel (cintamani), his third right hand holds prayer beads, his first left hand holds Mount Meru, his second left hand holds a lotus flower and the third left hand holds a Dharma wheel (cakra).[35] Her mantra, the Cintāmaṇicakra Dharani (Chinese: 如意寶輪王陀羅尼; pinyin: Rúyì Bǎolún Wáng Tuóluóní), is also one of the Ten Small Mantras.[33][34]

In China, it is said that fishermen used to pray to her to ensure safe voyages. The titles Guanyin of the Southern Ocean (南海觀音) and "Guanyin (of/on) the Island" stem from this tradition.

Chinese porcelain statue depicting Guanyin, Yuan Dynasty (1271–1368 AD)

Another story from the Precious Scroll of Fragrant Mountain (香山寶卷) describes an incarnation of Guanyin as the daughter of a cruel king Miaozhuang Wang who wanted her to marry a wealthy but uncaring man. The story is usually ascribed to the research of the Buddhist monk Jiang Zhiqi during the 11th century. The story is likely to have its origin in Taoism. When Jiang penned the work, he believed that the Guanyin we know today was actually a princess called Miaoshan (妙善), who had a religious following on Fragrant Mountain.[36] Despite this there are many variants of the story in Chinese mythology.

According to the story, after the king asked his daughter Miaoshan to marry the wealthy man, she told him that she would obey his command, so long as the marriage eased three misfortunes.

The king asked his daughter what were the three misfortunes that the marriage should ease. Miaoshan explained that the first misfortune the marriage should ease was the suffering people endure as they age. The second misfortune it should ease was the suffering people endure when they fall ill. The third misfortune it should ease was the suffering caused by death. If the marriage could not ease any of the above, then she would rather retire to a life of religion forever.

Kannon statue in Daien'i, Mount Kōya, Japan.

When her father asked who could ease all the above, Miaoshan pointed out that a doctor was able to do all of these. Her father grew angry as he wanted her to marry a person of power and wealth, not a healer. He forced her into hard labour and reduced her food and drink but this did not cause her to yield.

Every day she begged to be able to enter a temple and become a nun instead of marrying. Her father eventually allowed her to work in the temple, but asked the monks to give her the toughest chores in order to discourage her. The monks forced Miaoshan to work all day and all night while others slept in order to finish her work. However, she was such a good person that the animals living around the temple began to help her with her chores. Her father, seeing this, became so frustrated that he attempted to burn down the temple. Miaoshan put out the fire with her bare hands and suffered no burns. Now struck with fear, her father ordered her to be put to death.

Guanyin statue at Seema Malaka in Colombo, Sri Lanka.

In one version of this legend, when Guanyin was executed, a supernatural tiger took her to one of the more hell-like realms of the dead. However, instead of being punished like the other spirits of the dead, Guanyin played music, and flowers blossomed around her. This completely surprised the hell guardian. The story says that Guanyin, by merely being in that Naraka (hell), turned it into a paradise. A variant of the legend says that Miaoshan allowed herself to die at the hand of the executioner. According to this legend, as the executioner tried to carry out her father's orders, his axe shattered into a thousand pieces. He then tried a sword which likewise shattered. He tried to shoot Miaoshan down with arrows but they all veered off.

Small shrine to Guanyin or Kannon. Ashikaga, Tochigi, Japan

Finally in desperation he used his hands. Miaoshan, realising the fate that the executioner would meet at her father's hand should she fail to let herself die, forgave the executioner for attempting to kill her. It is said that she voluntarily took on the massive karmic guilt the executioner generated for killing her, thus leaving him guiltless. It is because of this that she descended into the Hell-like realms. While there, she witnessed first-hand the suffering and horrors that the beings there must endure, and was overwhelmed with grief. Filled with compassion, she released all the good karma she had accumulated through her many lifetimes, thus freeing many suffering souls back into Heaven and Earth. In the process, that Hell-like realm became a paradise. It is said that Yama, the ruler of hell, sent her back to Earth to prevent the utter destruction of his realm, and that upon her return she appeared on Fragrant Mountain.

Another tale says that Miaoshan never died, but was in fact transported by a supernatural tiger,[37] believed to be the Deity of the Place, to Fragrant Mountain.

Statue of Ekādaśamukha or the Eleven-Headed Guanyin (Shíyīmiàn Guānyīn) in Bukenqu Guanyin Yard (不肯去觀音院) in Putuoshan, Zhoushan, Zhejiang Province, China

The legend of Miaoshan usually ends with Miaozhuang Wang, Miaoshan's father, falling ill with jaundice. No physician was able to cure him. Then a monk appeared saying that the jaundice could be cured by making a medicine out of the arm and eye of one without anger. The monk further suggested that such a person could be found on Fragrant Mountain. When asked, Miaoshan willingly offered up her eyes and arms. Miaozhuang Wang was cured of his illness and went to the Fragrant Mountain to give thanks to the person. When he discovered that his own daughter had made the sacrifice, he begged for forgiveness. The story concludes with Miaoshan being transformed into the Thousand Armed Guanyin, and the king, queen and her two sisters building a temple on the mountain for her. She began her journey to a pure land and was about to cross over into heaven when she heard a cry of suffering from the world below. She turned around and saw the massive suffering endured by the people of the world. Filled with compassion, she returned to Earth, vowing never to leave till such time as all suffering has ended.

After her return to Earth, Guanyin was said to have stayed for a few years on the island of Mount Putuo where she practised meditation and helped the sailors and fishermen who got stranded. Guanyin is frequently worshipped as patron of sailors and fishermen due to this. She is said to frequently becalm the sea when boats are threatened with rocks.[38] After some decades Guanyin returned to Fragrant Mountain to continue her meditation.

An Altar of Guanyin Worship

Legend has it that Shancai (also called Sudhana in Sanskrit) was a disabled boy from India who was very interested in studying the dharma. When he heard that there was a Buddhist teacher on the rocky island of Putuo he quickly journeyed there to learn. Upon arriving at the island, he managed to find Guanyin despite his severe disability.

Guanyin, after having a discussion with Shancai, decided to test the boy's resolve to fully study the Buddhist teachings. She conjured the illusion of three sword-wielding pirates running up the hill to attack her. Guanyin took off and dashed to the edge of a cliff, the three illusions still chasing her.

Shancai, seeing that his teacher was in danger, hobbled uphill. Guanyin then jumped over the edge of the cliff, and soon after this the three bandits followed. Shancai, still wanting to save his teacher, managed to crawl his way over the cliff edge.

Shancai fell down the cliff but was halted in midair by Guanyin, who now asked him to walk. Shancai found that he could walk normally and that he was no longer crippled. When he looked into a pool of water he also discovered that he now had a very handsome face. From that day forth, Guanyin taught Shancai the entire dharma.

20-meter-high Guanyin Bodhisattva statue flanked by Nagakanya and Sudhana (top) Lower level shows 4 Heavenly Kings at Sanggar Agung, Surabaya, Indonesia

Many years after Shancai became a disciple of Guanyin, a distressing event happened in the South China Sea. The third son of one of the Dragon Kings was caught by a fisherman while swimming in the form of a fish. Being stuck on land, he was unable to transform back into his dragon form. His father, despite being a mighty Dragon King, was unable to do anything while his son was on land. Distressed, the son called out to all of Heaven and Earth.

14th century Pāṇḍaravāsinī Avalokiteśvara Bodhisattva, Ming dynasty, Daitokuji temple in Kyoto, Japan

Hearing this cry, Guanyin quickly sent Shancai to recover the fish and gave him all the money she had. The fish at this point was about to be sold in the market. It was causing quite a stir as it was alive hours after being caught. This drew a much larger crowd than usual at the market. Many people decided that this prodigious situation meant that eating the fish would grant them immortality, and so all present wanted to buy the fish. Soon a bidding war started, and Shancai was easily outbid.

Shancai begged the fish seller to spare the life of the fish. The crowd, now angry at someone so daring, was about to pry him away from the fish when Guanyin projected her voice from far away, saying "A life should definitely belong to one who tries to save it, not one who tries to take it."

The crowd, realising their shameful actions and desire, dispersed. Shancai brought the fish back to Guanyin, who promptly returned it to the sea. There the fish transformed back to a dragon and returned home. Paintings of Guanyin today sometimes portray her holding a fish basket, which represents the aforementioned tale.

As a reward for Guanyin saving his son, the Dragon King sent his granddaughter, a girl called Longnü ("dragon girl"), to present Guanyin with the Pearl of Light. The Pearl of Light was a precious jewel owned by the Dragon King that constantly shone. Longnü, overwhelmed by the presence of Guanyin, asked to be her disciple so that she might study the dharma. Guanyin accepted her offer with just one request: that Longnü be the new owner of the Pearl of Light.

In popular iconography, Longnü and Shancai are often seen alongside Guanyin as two children. Longnü is seen either holding a bowl or an ingot, which represents the Pearl of Light, whereas Shancai is seen with palms joined and knees slightly bent to show that he was once crippled.

The Precious Scroll of the Parrot (Chinese: 鸚鴿寶撰; pinyin: Yīnggē Bǎozhuàn) tells the story of a parrot who becomes a disciple of Guanyin. During the Tang Dynasty a small parrot ventures out to search for its mother's favourite food upon which it is captured by a poacher (parrots were quite popular during the Tang Dynasty). When it managed to escape it found out that its mother had already died. The parrot grieved for its mother and provides her with a proper funeral. It then sets out to become a disciple of Guanyin.

In popular iconography, the parrot is coloured white and usually seen hovering to the right side of Guanyin with either a pearl or a prayer bead clasped in its beak. The parrot becomes a symbol of filial piety.[39]

Chen Jinggu is said to be related to Guanyin via the following story.[40] One day in Quanzhou, Fujian, the people needed money to build a bridge. Guanyin turned into an attractive lady and said she would marry any man who could hit her with silver. Many tried, and Guanyin was able to accumulate a lot of silver ingots through this process. Eventually one of the Eight Immortals, Lü Dongbin, helped a merchant hit her hair with some silver.

• Guanyin's hair then floated away and became a white demon female snake. The snake would seduce men and kill other women.
• Guanyin then disappeared, but she let some of her blood from her finger flow down the river. A woman named Ge Furen (葛妇人 Lady Ge), whose husband was from the Chen family, then drank some of Guanyin's blood from the water and became pregnant, giving birth to Chen Jinggu. Later Chen Jinggu would fight and kill the white demon snake.
• As for the merchant, he later reincarnated as Liu Qi (劉杞) and would marry Chen Jinggu.[40]

The story continues with how Chen Jinggu grew up, studied at Lüshan, and eventually saved Northern Fujian from drought while defeating the white demon snake, but at the cost of sacrificing her own child. It is said that she died of either miscarriage or hemorrhage from the self-abortion.[40][41][42]

Parallels have also been argued between the tale of Chen Jinggu and another Fujian legend, the tale of Li Ji slays the Giant Serpent.[43][44]

Quan Am Thi Kinh (觀音氏敬) is a Vietnamese verse recounting the life of a woman, Thi Kinh. She was accused falsely of having intended to kill her husband, and when she disguised herself as a man to lead a religious life in a Buddhist temple, she was again falsely blamed for having committed sexual intercourse with a girl named Thi Mau. She was accused of impregnating her, which was strictly forbidden by Buddhist law. However, thanks to her endurance of all indignities and her spirit of self-sacrifice, she could enter into Nirvana and became Goddess of Mercy (Phat Ba Quan Am).[45] P. Q. Phan's 2014 opera The Tale of Lady Thị Kính is based on this story.[46]

Statue of the Child-giving Guanyin (Chinese: 送子觀音; Pinyin: Sòngzi Guānyīn) in Daming Temple in Yangzhou, Jiangsu, China

In China, various native indigenous forms and aspects of Guanyin have been developed, along with associated legends, and portrayed in religious iconography. Aside from religious veneration, many of these manifestations also tended to appear in medieval and modern Chinese Buddhist miracle tales, fantasy fiction novels and plays.[20] Some local forms include:

• Shuiyue Guanyin (Chinese: 水月觀音; Pinyin: Shuǐyuè Guānyīn) - "Water-Moon Guanyin". A traditionally masculine form of Guanyin who is closely linked to and sometimes regarded as a further manifestation of the Thousand-Armed Guanyin. Is traditionally invoked for good rebirth, safe childbirth as well as enlightenment. Is usually portrayed in statues and painting as a young man or woman in a relaxed lalitasana pose beside a pond or lake with the moon reflected in the water, with the moon in the water being a metaphor for the Buddhist tenet of Śūnyatā.[20]
• Songzi Guanyin (Chinese: 送子觀音; Pinyin: Sòngzi Guānyīn) - "Child-giving Guanyin". An aspect of Guanyin which is closely linked to another manifestation, Baiyi Guanyin. Is primarily venerated as a fertility goddess and frequently invoked in prayers for children. Usually portrayed in statues and painting as a reclining white-robed young woman with a child sitting on her lap. Iconographic forms of this manifestations were noted by European travelers during the Ming and Qing dynasties to bear a striking resemblance to depictions of the Virgin Mary as the Madonna with Child.[20][47] This manifestation is also syncretized into Taoism and Chinese folk religion as Songzi Niangniang.[47]
• Baiyi Guanyin (Chinese: 白衣觀音; Pinyin: Báiyī Guānyīn) - "White Robed Guanyin". A traditionally feminine form of Guanyin who is closely linked to another manifestation, Songzi Guanyin. Like that manifestation, Baiyi Guanyin is usually venerated as a fertility goddess and invoked in prayers for children. Is usually portrayed in statues and painting as a young woman dresses in a white robe which sometimes covers the head, acting as a veil. The significance of the color white in this manifestation was influenced by tantric sutras as well as mandalas such as the Mandala of the Two Realms which frequently depict Guanyin as being clad in white.[20]
• Yulan Guanyin (Chinese: 魚籃觀音; Pinyin: Yúlán Guānyīn) - "Fish Basket Guanyin". A form of Guanyin that originates from a legend about Guanyin descending as an avatar in the form of a beautiful young fisherwoman in order to convert a town of vicious, evil men into Buddhists. Usually portrayed in statues and painting as a young woman holding a fish-basket.[20] This manifestation also appears in the popular Ming dynasty novel Journey To The West, one of the Four Classic Chinese Novels, where she uses the fish basket to capture a sea demon.[48]
• Nanhai Guanyin (Chinese: 南海觀音; Pinyin: Nánhǎi Guānyīn) - "Guanyin Of The Southern Seas". A form of Guanyin that became popularized after the establishment of Mount Putuo as Guanyin's bodhimaṇḍa and a major Chinese Buddhist pilgrimage center. Is usually portrayed in statues and painting as a young woman in a relaxed rājalīlā pose meditating on Mount Putuo, or Potalaka. Certain iconographic details vary from depiction to depiction, with some including a stand of bamboo before the bodhisattva, or a vase with willow branches, or Shancai and Longnü standing beside her as attendants.[20]

Guanyin statue as pose of The Guanyin of the Southern Seas in Avalokitesvara Buddhist temple at Pematangsiantar, North Sumatra, Indonesia

Similarly in Japan, several local manifestations of Guanyin, known there primarily as Kannon or, reflecting an older pronunciation, Kwannon, have also been developed natively, supplanting some Japanese deities, with some having been developed as late as the 20th century. Some local forms include:[49]

• Bokefuji Kannon - "Senility-healing Kannon". A 20th century invention by a religious goods manufacturer due to rising concern about senility and dementia. Depicted as a woman with small figures of an elderly man and woman at her feet.
• Jibo Kannon - "Compassionate-mother Kannon". Kannon as a woman holding an infant. Became especially popular in Japan when suppressed Christians used the image to represent the Virgin Mary and Christ Child.
• Koyasu Kannon - "Safe-childbirth Kannon". Kannon as a woman, holding or often nursing an infant. Predates Jibo Kannon by several centuries. Similarly used by Christians.
• Mizuko Kuyō Kannon - "New-born Memorial-service Kannon". (Mizuko Kuyō is a memorial service held for children who are born dead or die shortly after birth.) A woman surrounded by or holding several children. A 20th century development in response to aborted pregnancies as well as stillbirths and spontaneous pregnancy terminations.
• Maria Kannon - "Mary Kannon". A statue of the Virgin Mary disguised to look like a statue of Kannon. Often contains a Christian symbol, either obscured on the surface or hidden within the statue. Arose during a time when Christianity was proscribed during the Tokugawa shogunate.
• Yōkihi Kannon - "Yang Gui Fei Kannon" (Yang Gui Fei is read as "Yōkihi" in Japan). Yang Guifei was a famed Chinese Tang dynasty era beauty. Despite being depicted as an epitome of feminine beauty Yōkihi Kannon usually sport a moustache designed to desexualise the icon and demonstrate how the capacity for enlightenment does not depend upon a person's sex.

In Tibet, Guanyin is revered under the name Chenrezig. Unlike much of other East Asia Buddhism where Guanyin is usually portrayed as female or androgynous, Chenrezig is revered in male form. While similarities of the female form of Guanyin with the female buddha or boddhisattva Tara are noted—particularly the aspect of Tara called Green Tara—Guanyin is rarely identified with Tara.[50][51] Through Guanyin's identity as Avalokitesvara, she is a part of the padmakula (Lotus family) of buddhas. The buddha of the Lotus family is Amitābha, whose consort is Pāṇḍaravāsinī. Guanyin's female form is sometimes said to have been inspired by Pāṇḍaravāsinī.