'Island of Guanyin' explores how Mount Putuo, one of the most popular Buddhist sites in China, has been depicted in a particular genre - the temple or mountain gazetteer.

By far one of the most important objects of worship in the Buddhist traditions, the bodhisattva Avalokitesvara is regarded as the embodiment of compassion. He has been widely revered throughout the Buddhist countries of Asia since the early centuries of the Common Era. While he was closely identified with the royalty in South and Southeast Asia, and the Tibetans continue to this day to view the Dalai Lamas as his incarnations, in China he became a she—Kuan-yin, the "Goddess of Mercy"—and has a very different history. The causes and processes of this metamorphosis have perplexed Buddhist scholars for centuries. In this groundbreaking, comprehensive study, Chün-fang Yü discusses this dramatic transformation of the (male) Indian bodhisattva Avalokitesvara into the (female) Chinese Kuan-yin—from a relatively minor figure in the Buddha's retinue to a universal savior and one of the most popular deities in Chinese religion. Focusing on the various media through which the feminine Kuan-yin became constructed and domesticated in China, Yü thoroughly examines Buddhist scriptures, miracle stories, pilgrimages, popular literature, and monastic and local gazetteers—as well as the changing iconography reflected in Kuan-yin's images and artistic representations—to determine the role this material played in this amazing transformation. The book eloquently depicts the domestication of Kuan-yin as a case study of the indigenization of Buddhism in China and illuminates the ways this beloved deity has affected the lives of all Chinese people down the ages.

Winner, 2024 Geiss-Hsu Book Prize for Best First Book, Society for Ming Studies The goddess Guanyin began in India as the bodhisattva Avalokiteśvara, originally a male deity. He gradually became indigenized as a female deity in China over the span of nearly a millennium. By the Ming (1358–1644) and Qing (1644–1911) periods, Guanyin had become the most popular female deity in China. In Becoming Guanyin, Yuhang Li examines how lay Buddhist women in late imperial China forged a connection with the subject of their devotion, arguing that women used their own bodies to echo that of Guanyin. Li focuses on the power of material things to enable women to access religious experience and transcendence. In particular, she examines how secular Buddhist women expressed mimetic devotion and pursued religious salvation through creative depictions of Guanyin in different media such as painting and embroidery and through bodily portrayals of the deity using jewelry and dance. These material displays expressed a worldview that differed from yet fit within the Confucian patriarchal system. Attending to the fabrication and use of “women’s things” by secular women, Li offers new insight into the relationships between worshipped and worshipper in Buddhist practice. Combining empirical research with theoretical insights from both art history and Buddhist studies, Becoming Guanyin is a field-changing analysis that reveals the interplay between material culture, religion, and their gendered transformations.

This is the biography of a set of rare Buddhist statues from China. Their extraordinary adventures take them from the Buddhist temples of fifteenth-century Putuo – China’s most important pilgrimage island – to their seizure by a British soldier in the First Opium War in the early 1840s, and on to a starring role in the Great Exhibition of 1851. In the 1850s, they moved in and out of dealers’ and antiquarian collections, arriving in 1867 at Liverpool Museum. Here they were re-conceptualized as specimens of the ‘Mongolian race’ and, later, as examples of Oriental art. The statues escaped the bombing of the Museum during the Second World War and lived out their existence for the next sixty years, dismembered, corroding and neglected in the stores, their histories lost and origins unknown. As the curator of Asian collections at Liverpool Museum, the author became fascinated by these bronzes, and selected them for display in the Buddhism section of the World Cultures gallery. In 2005, quite by chance, the discovery of a lithograph of the figures on prominent display in the Great Exhibition enabled the remarkable lives of these statues to be reconstructed.

Uncovering the past through the lens of sacred travel, this travel book includes both academic and popular religious perspectives, and is filled with photographs of both famous and lesser-known locales from every corner of the world. Each site-specific explanation of the significance of Goddess today and in centuries past deftly combines current trends, academic theories, and historical insights. From the Middle East, to Europe, Africa, and the Americas, the images of feminine divinity presented in this work are as uniform in their beauty as they are diverse in cultural tradition. For each location-be it the shrines in Kyoto and Kamakura or the sites worshipping the Virgin Mary in Bolivia, France, Trinidad, and the Saut D'Eau Waterfalls of Haiti-this book provides a history of each site in conjunction with the photography.

Chinese Buddhist wooden sculptures of Water-moon Guanyin, a Bodhisattva sitting in a leisurely reclining pose on a rocky throne, are housed in Western collections and are thus removed from their original context(s). Not only are most of them of unknown origin, but also lack a precise date. Tracing their sources is difficult because of the scant information provided by art dealers in previous periods. Thus, only preliminary investigations into their stylistic development and technical features have been made so far. Moreover, until recently none of the Chinese temples that provided their original context, i.e. their precise position within those temple compounds and their respective place in the Buddhist pantheon, have been examined at all. In her study, Petra H. Rösch investigates these very aspects, including questions about the religious position and function of the sculptures of this special Bodhisattva. She also looks at the technical construction, the collecting of Chinese Buddhist sculptures in general and those made of wood in particular. She uses a combination of stylistic, iconographical, buddhological, as well as technical methodologies in her investigation of the Water-moon Guanyin images and sheds light on the Buddhist temples in Shanxi Province, the works of art they once housed, and the religious practices of the eleventh to thirteenth centuries connected with them.

Over 7 billion people live on the earth, and 84 percent of them describe themselves as being religious. Few topics incite such passion as religion. What does that mean? Why are humans invested in ideas that may never be proved? Why has religion played such an important role in history? In Comparative Religion: Investigate the World through Religious Tradition, readers seek answers to these questions by comparing and contrasting the cultural, spiritual, and geographical underpinnings of five different religions. By developing a better understanding of the similarities and differences among religions of the world, readers gain a strong foothold in a dialogue that has continued for thousands of years. Combining hands-on activities with theology, history, geography, world cultures, art, and architecture, Comparative Religions encourages deeper understanding of the world’s religions. Entertaining graphic art, fascinating sidebars, and links to primary sources bring the topic to life, while key questions reaffirm foundational concepts. Activities include conducting an interview with a rabbi, comparing the story of Abraham and Isaac in three sacred texts, studying the architecture of the National Cathedral in Washington, DC, studying the Hindu practice of yoga and meditation, and examining how religious doctrines shape the behavior of believers.