Essay on The Analysis of Buddhist Artifacts

It is known that Buddhist artifacts play an important role in the study of Buddhist teaching and philosophy, Buddhist culture and traditions. Many historians use Buddhist artifacts in their studies because they can evidence the most significant social changes, and tell about religious and cultural processes of different periods. The most interesting Buddhist artifacts are connected with Avalokiteshvara, a rather popular figure of worship in Buddhism. Guanyin is the Chinese variant of that name. According to the historical data, Guanyin underwent a fundamental transformation in order to be the most popular Chinese deity. Three representations of the bodhisattva Avalokiteshvara/Guanyiun from different periods within the Buddhist tradition in imperial China give an opportunity to examine the process of sinicization of Buddhism through the cult of Guanyin in China.

My goal in this paper is to describe and analyze the artifacts of Guanyin, and to prove the fact that they contribute to the knowledge of the social hierarchies and faith systems of different periods.

DESCRIPTION OF GUANYIN ARTIFACTS

According to the numerous historical sources, the name of Avalokiteshvara, or Guanyin appeared in the ancient texts of Mahayana Buddhism in India, and later the cult of Avalokiteshvara was spread throughout East and South-East Asia including such countries as Nepal, Sri Lanka, Cambodia, Tibet, China, Japan, Korea, Vietnam, and Thailand. Some legends say that Avalokiteshvara was born “from a ray of light emanating from the right eye of Buddha Amitabha”. (McArthur 43) However, Avalokiteshvara of different periods is represented in different ways. It is known that there are about 33 forms of Avalokiteshvara. The most popular are the following ones: Guanyin (1115-1234 Jin dynasty), White-robed Guanyin in a landscape (early 14th century Yuan period), and Tibeto-Chinese Avalokiteshvara (17th to 18th century Qing period).

Guanyin (1115-1234 Jin dynasty)

Guanyin of Jin dynasty, 1115-1234, is an impressive figure made of wood and pigmented. It came from North China, Shanxi province. This image has Chinese features, but wears a magnificent costume of an Indian prince what proves the fact that Guanyin is of Indian origin. The young man is seated in the pose of “royal ease”. His facial expression is calm and gentle what proves the fact that the image of Guanyin personifies the good. The elegant pose and the kind face give an opportunity to feel the power of Guanyin to help other people to attain salvation. The figure is decorated by intricate jewelry: wonderful bracelets, necklace and headdress. It is known that the original statue was painted in gold and bright colors. The statue was used as a symbol of worship in a Chinese Buddhist temple. Guanyin was later transformed into the Goddess of Mercy and became very popular as the most merciful deity. It is known that Guanyin answered all prayers of worshipers and protected them against calamity.(McArthur 27)