Quan Yin, an abbreviated name translating to “The One Who Sees and Hears the Cries from the Human Realm,” embodies compassion and mercy in Chinese mythology. Her title reflects her attentive nature, emphasizing her role as the deity who listens to prayers. Occasionally depicted with eleven heads, she is affectionately referred to as Sung-Tzu-Niang-Niang, or the “lady who brings children.” Revered particularly among women, Quan Yin provides solace to the troubled, the ill, the lost, the elderly, and those enduring hardship. Over time, her veneration has extended, with her now serving as a guardian for seafarers, farmers, and travelers alike. She also plays a vital role in the underworld, invoked during post-burial ceremonies to liberate the deceased’s spirit from purgatorial suffering. Numerous temples dedicated to her exist across China, with a notable concentration of worshippers in South China. Significant dates for her followers include the 19th day of the 2nd, 6th, and 9th lunar months. For instance, in Foochow, it’s customary to send gifts to a family with a daughter-in-law married since the previous year who has yet to bear a son; this often includes offerings such as a paper lantern featuring Quan Yin and her child, along with food items like oysters, rice cakes, oranges, and garlic.
Quan Yin is believed to bring forth children, typically sons, although mothers can also request daughters, who are said to be exceptionally beautiful. She is a source of comfort in times of grief, guidance for fishermen and sailors, and her presence can nullify enemy threats during conflicts. The principal temple devoted to her is located on Putuoshan Island in the Chusan Archipelago off the Zhejiang coast near Ningbo, revered as a critical pilgrimage site for Buddhists. Quan Yin is said to have spent nine years there as the Queen of the Southern Seas. The island, named P’u t’o lo ka, is derived from Mount Pataloka, where the Goddess, in her avatar as Avalokiteshvara, gazes benevolently upon humanity. Many pilgrims flock to Miao Feng Shan (Mount of the Wondrous Peak), utilizing rattles and fireworks in their prayers to draw her focused attention. The first temple dedicated to her was established in 847, and by 1702, the area boasted four hundred temples and three thousand monks, attracting countless pilgrims yearly. However, by 1949, the number of monasteries and temples had dwindled to 140.
In the realm of Chinese deities, no figure is represented in as many forms as Quan Yin, who is said to have thousands of different incarnations. Traditionally, she is portrayed as a graceful woman, barefoot and draped in flowing white robes with a white hood. She often carries a small vase of sacred dew. In some Lamaistic portrayals, particularly from the 18th century in China and Tibet, she is depicted as entirely nude. Her statues project a tall, slender form of grace, characterized by serene features highlighting her selflessness and compassion, which contribute to her renowned status among deities. Quan Yin may be illustrated in various scenarios, such as seated on an elephant, standing on a fish, nurturing a child, or holding a basket, sometimes with multiple arms and heads. She frequently rides a mythical creature resembling a Buddhist lion, embodying her divine power over natural forces. Her bare feet remain a constant in these depictions. On public altars, she is often accompanied by two attendants: a barefoot youth called Shan-ts’ai (Golden Youth), praying earnestly, and a maiden named Lung-nü (Jade Maiden) who stands demurely with hands clasped within her sleeves. Her principal celebration occurs annually on the 19th of the 2nd lunar month, and she enjoys the distinction of having three birthdays, celebrating on the 19th of the 2nd, 6th, and 9th months. With numerous transformations, Quan Yin symbolizes the pinnacle of beauty in Chinese culture, and calling a lady or girl “Kwan Yin” signifies the utmost praise for her grace and charm.
