Avalokiteśvara

Definition and stakes

Portrait of Sir Aurel Stein Sir Aurel Stein,  The Thousand Buddhas (1921)

“ They are either men who, having won the right to enter Buddhahood, refuse that peace for the sake of suffering mankind, or else celestial beings who assume a human form. Of this last order of beings is Avalokiteśvara, whom the Chinese know as Kuan-yin, and the Japanese as Kwannon; the favourite object of adoration in Mahāyāna Buddhism. He appears in art both in male and female form. In later art the female form is almost universal, but in the Tun-huang paintings the male form is predominant. Avalokiteśvara is the spiritual son of Amitābha, the impersonal Buddha, the Light of the Enlightened ”
Source: Gutenberg

Portrait of Sir Aurel Stein Sir Aurel Stein,  The Thousand Buddhas (1921)

“ The same curling maroon cloud on which Vaiśravaṇa advances carries also his retinue of varied aspects. Before him to the right we see the graceful figure of a nymph bowing and presenting a dish of flowers. Her identity is uncertain; in form and attire she resembles the ‘Nymph of Virtue’ we have already met in the paintings of the Thousand-armed Avalokiteśvara.94 Of her rich attire may be specially noted the wide sleeves which almost sweep the ground, the acanthus-like leaves covering her shoulders, and the wreaths thrown over her arms. ”
Source: Gutenberg

Portrait of Sir Aurel Stein Sir Aurel Stein,  The Thousand Buddhas (1921)

“ On the iconographic side the interest of this sumptuous presentation of Avalokiteśvara’s ‘Maṇḍala’ is obvious, were it only for the appearance in it of such Śivaitic deities as Mahākāla and Maheśvara. These aptly illustrate the influence which Hindu mythology, even in its later development, continued to exercise on the Buddhist Pantheon of Central Asia and the Far East. On the artistic side attention is claimed by the skill shown in the ordinance of the whole and the drawing of individual figures. ”
Source: Gutenberg

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