The "Mother of Mercy" of Asia is a fascinating figure with various names and
spellings, and a rich number of visual representations and symbolic
meanings.
Various Representations
The Vatican Museum
Anonymous (China, Ming Dynasty)
Madonna and Child
ivory
Missionary-Ethnological Museum, Inv. AS 10059
Most
likely by a Chinese artist, this work bears the inscription Da Ming Nian
Zhi, meaning, “executed at the time of the great Ming”
(1368-1644) which would theoretically allow for a datation anywhere between
1549 (Francis Xavier attempts to enter China) and 1644. More realistically,
the date of origin should be fixed at a time between 1600 and 1620. This
piece is unique not only because of its physical appearance, but also for
its theological message of inculturation. It is carved from an elephant
tusk, and features in limited space Mother and Child, the "horn of plenty"
(cornucopia), two
angels, and a dragon, not to mention the many decorative accessories. As an
example of the latter, see the lotus flowers adorning Mary’s dress,
symbolizing longevity and purity. The delicate chromaticism and finely
carved features, as well as the harmonious integration of the sculptural
form with the physical reality of the tusk, are indicative of high quality
art and exquisite craftsmanship. The sculpture was a gift to Pope Paul VI,
and until 1973 embellished the Pontifical Antechamber.
The Korean Marian Library
Brother Vianney Ahn, director of the Korean Marian Library, recently
discovered a porcelain representation of Gwan-Um while dining in a Chinese
restaurant. He was able to buy the statue at a modest price. The
blue and white colored artwork is one of the prized possessions of the Marian
Library in Seoul. The feminine figure is holding the baby, and stands on two
dragons.
The Dayton Marian Library
|
This wooden Sculpture by Fr. Luke Asayama, is a skillful rendering of
the Gwan-Um
sculpture
"Standing in White Clothing" at Deidon University, Japan.
The dimunitive form of a child under her veil identifies Gwan-Um as the
"bestower of children." |
Various Motifs
In many images she is depicted carrying the pearls of illumination.
Often Quan Yin is shown pouring a stream of healing water, the "Water of
Life," from a small vase. (see sculpture of Korean Marian Library)
With this water devotees and all living things are blessed with physical and
spiritual peace. She holds a sheaf of ripe rice or a bowl of rice seed
as a metaphor for fertility and sustenance. The dragon, an ancient
symbol for high spirituality, wisdom, strength, and divine powers of
transformation, is a common motif found in combination with the Incarnation of
Mercy. Guam-Um standing on the dragon may also have the meaning of
mercy and compassion superseding powers.
Scholars believe that the Buddhist monk and translator Kumarajiva was the
first to refer to the female form of Kuan Yin in his Chinese translation of
the Lotus Sutra in 406 A.D. Of the thirty-three appearances of the
bodhisattva referred to in his translation, seven are female.
(Devoted Chinese and Japanese Buddhists have since come to associate the
number thirty-three with Kuan Yin).
The iconography of Kuan Yin depicts her in many forms, each one revealing a
unique aspect of her merciful presence. As the sublime Goddess of
Mercy whose beauty, grace and compassion have come to represent the ideal of
womanhood in the East, she is frequently portrayed as a slender woman in
flowing white robes who carries in her left hand a white lotus, symbol of
purity. Ornaments may adorn her form, symbolizing her attainment as a
bodhisattva, or she may be pictured without them as a sign of her great
virtue.
Kuan Yin's presence is widespread through her images as the "bestower of
children" which are found in homes and temples. A great white veil
covers her entire form and she may be seated on a lotus. She is often
portrayed with a child in her arms, near her feet, or on her knees, or with
several children about her. In this role, she is also referred to as
the "white-robed honored one." Sometimes to her right and left are her
two attendants, Shan-tsiai Tung tsi, the "young man of excellent
capacities," and Lung-wang Nu, the "daughter of the Dragon-king."
Kuan Yin is also known as patron bodhisattva of P'u-t'o Shan, mistress of
the Southern Sea and patroness of fishermen. As such she is shown
crossing the sea seated or standing on a lotus or with her feet on the head
of a dragon.
Symbols characteristically associated with Kuan Yin are a willow branch,
with which she sprinkles the divine nectar of life; a precious vase
symbolizing the nectar of compassion and wisdom, the hallmarks of a
bodhisattva; a dove, representing fecundity; a book or scroll of prayers
which she holds in her hand, representing the dharma (teaching) of the
Buddha or the sutra (Buddhist text) which Miao Shan is said to have
constantly recited; and a rosary adorning her neck with which she calls upon
the Buddha's for succor.
Images of Avalokitesvara often show him holding a rosary; descriptions of his
birth say he was born with a white crystal rosary in his right hand and a
white lotus in his left. It is taught that the beads represent all
living beings and the turning of the beads symbolizes that Avalokitesvara is
leading them out of their state of misery and repeated rounds of rebirth
into nirvana.
Today, Kuan Yin is worshipped by Taoists as well as Mahayana
Buddhists-especially in Taiwan, Japan, Korea and once again in her homeland
of China, where the practice of Buddhism had been suppressed by the
Communists during the Cultural Revolution (1966-69). She is the protectress of women, sailors, merchants, craftsmen, and those under
criminal prosecution, and is invoked particularly by those desiring progeny.
Beloved as a mother figure and divine mediatrix who is very close to the
daily affairs of her devotees, Kuan Yin's role as Buddhist Madonna has been
compared to that of Mary, the mother of Jesus in the West.
The Mother of Mercy
To enter into fruitful religious dialogue with Buddhism, experts in Asian
theology advise to highlight mercy and passion. These two themes are
representative of Buddhist doctrine. Avalokitesvara, or Buddha, has suffered
ascetically in order to free people from the pains of earthly existence.
This sculpture goes one step further. It blends into one: Mary, mother of
Mercy, and Guanyn or Gwan-Um. In China and Korea, Avalokitesvara was
represented in feminine form, and is venerated as a gentle and compassionate
“Madonna” called Guanyn (China) and Gwan-Um (Korea). She is described as a
model of mercy and may be compared to Mary, Mother of Mercy. Like Mary, she
dedicates her personal mission to mercy, as mother of everyone. Sculpting
his Madonna and Child, the artist was inspired by Guanyn. She is frequently
depicted with a child in her arms, riding a dragon. Placed in front of
waterfalls or on rocks, she leads stranded sailors to safety. The artist
added two little angels to give the sculpture a more pronounced Christian
character.
There are, of course, differences between Guanyn and Mary. Guanyn is not
a historical person. Legend describes her as a princess, Miao Shan. As
idealized woman, she personifies the Buddha in Mahayana Buddhism, but she is
not a goddess, just as Mary should not be mistaken with a feminine face of
God. Guanyn is the bodhisattva Avalokitesvara among many other bodhisattvas.
Her mission is mercy and she leads to Nirvana. Mary’s mercy leads to the
Cross, the source and reason of God’s mercy.
