Exhibition Guide
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Water-Moon Guanyin (Shuiyue Guanyin)
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Bejeweled Being
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Male and/or Female?
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Art Object Info
Guanyin attained enlightenment with the guidance of the Buddha Amitabha but, rather than enter the blissful state of nirvana, chose to remain in this world to relieve the suffering of all creatures. Able to assume many guises, she is portrayed here as Water-Moon Guanyin, known to sit in a rocky grotto at the water’s edge beneath the full moon. She contemplates the moon’s ephemeral reflection at her feet. Strands of beaded jewelry, flowing robes, long fleshy earlobes, long hair, and bare feet are familiar attributes of Guanyin. Her slight smile invites the confidence of the faithful, while her downcast eyes survey the emptiness of existence.
Within a larger temple complex, Water-Moon Guanyin commonly occupied a north-facing altar behind the Buddha altar, in a passage-hall with both a front and rear door. Faithful followers would venerate Water-Moon Guanyin by the devotional practice of circumambulation, walking in a circle around the back-to-back altars in an effort to be reborn in Amitabha’s Western Paradise.
The Lotus Sutra (written in India, c.1st–2nd century) introduced Avalokitesvara, the Lord of Compassion, which the Chinese translated as Guanshiyin, “the one who perceives the sounds of the world.” The Lotus Sutra shows Guanyin (“sound observer”) assuming 33 different appearances— human or nonhuman—in order to preach the Buddha’s message most effectively to each recipient. In China, after the 9th century, Guanyin assumed a more feminine aspect and acquired additional identities. The process of feminization and popularization was largely completed by the Ming dynasty (1368–1644). Credited with providing children, easing childbirth, restoring health, and averting natural disasters, Guanyin’s popularity remains second to Buddha’s across most of Chinese Asia.
Art Object Info
Guanyin attained enlightenment with the guidance of the Buddha Amitabha but, rather than enter the blissful state of nirvana, chose to remain in this world to relieve the suffering of all creatures. Able to assume many guises, she is portrayed here as Water-Moon Guanyin, known to sit in a rocky grotto at the water’s edge beneath the full moon. She contemplates the moon’s ephemeral reflection at her feet. Strands of beaded jewelry, flowing robes, long fleshy earlobes, long hair, and bare feet are familiar attributes of Guanyin. Her slight smile invites the confidence of the faithful, while her downcast eyes survey the emptiness of existence.
Within a larger temple complex, Water-Moon Guanyin commonly occupied a north-facing altar behind the Buddha altar, in a passage-hall with both a front and rear door. Faithful followers would venerate Water-Moon Guanyin by the devotional practice of circumambulation, walking in a circle around the back-to-back altars in an effort to be reborn in Amitabha’s Western Paradise.
The Lotus Sutra (written in India, c.1st–2nd century) introduced Avalokitesvara, the Lord of Compassion, which the Chinese translated as Guanshiyin, “the one who perceives the sounds of the world.” The Lotus Sutra shows Guanyin (“sound observer”) assuming 33 different appearances— human or nonhuman—in order to preach the Buddha’s message most effectively to each recipient. In China, after the 9th century, Guanyin assumed a more feminine aspect and acquired additional identities. The process of feminization and popularization was largely completed by the Ming dynasty (1368–1644). Credited with providing children, easing childbirth, restoring health, and averting natural disasters, Guanyin’s popularity remains second to Buddha’s across most of Chinese Asia.