Guanyin. (J. Kannon; K. Kwanŭm 觀音)
In Chinese, “Perceiver of Sounds,” an abbreviation of the longer name Guanshiy in (J. Kanzeon; K. Kwanseŭm; Perceiver of the World’s Sounds); the most famous and influential BODHISATTVA in all of East Asia, who is commonly known in Western popular literature as “The Goddess of Mercy.” Guany in (alt. Guanshiy in) is the Chinese translation of AVALOKITEŚVARA, the bodhisattva of compassion; this rendering, popularized by the renowned Kuchean translator KUMĀRAJĪVA in his 405–406 CE translation of the SADDHARMAPUṆḌARĪKASŪTRA (“Lotus Sūtra”), derives from an earlier form of this bodhisattva’s name, Avalokitasvara, which is attested in some Sanskrit manuscripts of this scripture; Kumārajīva interprets this name as “gazing” (avalokita; C. guan) on the “sounds” (svara; C. y in) [of this wailing “world” (C. shi) of suffering]. Avalokitasvara was supplanted during the seventh century CE by the standard Sanskrit form Avalokiteśvara, the “gazing” (avalokita) “lord” (īśvara); this later form is followed in XUANZANG’s Chinese rendering Guanzizai (J. Kanjizai; K. Kwanjajae), as found in his 649 CE translation of the PRAJÑĀPĀRAMITĀHṚDAYASŪTRA (“Heart Sūtra”).
Gunayin holidng fishbasket (Zhang Daqian, 20 C CE)
The primary textual source for Guanyin worship is the twenty -fifth chapter of the Saddharmapuṇḍarīkasūtra; that chapter is devoted to the bodhisattva and circulated widely as an independent text in East Asia. The chapter guarantees that if any one in danger calls out Guanshiyin’s name with completely sincerity, the bodhisattva will “perceive the sound” of his call and rescue him from harm.
White Robed Guanyin (China, 18th C CE, MET)
Unlike in India and Tibet, Avalokiteśvara took on female form in East Asia around the tenth century. In traditional China, indigenous forms of Guanyin, such as BAIYI GUANYIN (White-Robed Guany in), Yulan Guany in (Guany in with Fish Basket), SHUIYUE GUANYIN (Moon in Water Guany in), Songzi Guany in (Child-Granting Guanyin), MALANG FU, as well as Princess MIAOSHAN, became popular subjects of worship. Guany in was worshipped in China by both monastics and laity, but her functions differed according to her manifestation.
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Child-Giving Guanyin (Ming)
Guanyin thus served as a protectress against personal misfortune, a symbol of Buddhist ideals and restraint, or a granter of children. Various religious groups and lay communities also took one of her various forms as their patroness, and in this role, Guanyin was seen as a symbol of personal salvation. Beginning in the tenth century, these different manifestations of Guanyin proliferated throughout China through indigenous sūtras, secular narratives, miracle tales, monastic foundation legends, and images. In later dynasties, and up through the twentieth century, Guany in worship inspired both male and female religious groups. For example, White Lotus groups during the Song dynasty included members from both genders, who were active in erecting STŪPAs and founding cloisters that promoted Guanyin worship.
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Seated Guanyin Bodhisattva (Ming), Walters Musem
In the twentieth century, certain women’s groups were formed that took Princess Miaoshan’s refusal to marry as inspiration to reject the institution of marriage themselves and, under the auspices of a Buddhist patron, pursue other secular activities as single women.
Princess Mioshan
In Japan, Kannon was originally introduced during the eighth century and took on additional significance as a female deity. For example, Kannon was often invoked by both pilgrims and merchants embarking on long sea voy ages or overland travel. Invoking Kannon’s name was thought to protect travelers from seven different calamities, such as fire, flood, storms, demons, attackers, lust and material desires, and weapons. Moreover, Kannon worship in Japan transcended sectarian loy alties, and there were numerous miracle tales concerning Kannon that circulated throughout the Japanese isles.
In Korea, Kwanŭm is by far the most popular bodhisattva and is also known there as a deity who offers succor and assistance in difficult situations. The cult of Kwanŭm flourished initially under the patronage of the aristocracy in both the Paekche and Silla kingdoms, and historical records tell of supplications made to Kwanŭm for the birth of children or to protect relatives who were prisoners of war or who had been lost at sea. Hence, while the cult of AMITĀBHA was principally focused on spiritual liberation in the next life, Kwanŭm instead was worshipped for protection in this life. Still today, Kwanŭm is an object of popular worship and a focus of ritual chanting in Korean Buddhist monasteries by both monks and, especially , lay women (and usually chanted in the form Kwanseŭm).
Source: LOPEZ D. S., BUSWELL R.: The Princeton Dictionary of Buddhism