Firs published in India 1988 © Loketh Chandra Publishers Malik Indira Gandhi National ‘Abhinay Publications Centre forthe Ars E37, Haue Khas Central Vista Meas New Dethit10016 Jampath ‘New Dathi-110001 ISBN 61-7017-207.0 ited Aas OMe &Paclagings Lad, Watkpur, Deis?FOREWORD ‘THE concept and image of the ‘Avalokiteivara has been an enigma to historians and scholars of Indian and Asian art. Like his Thousand Arms, the interpretation has been as multi-dimensional. Critical writing on Avalokitetvara ranges from its being identified as a purely Buddhist image to its being interpreted as a syncretical image of Buddha and Siva. The debate has not been restricted to Buddhist and Saivite iconography, or the relationship of Loketvara and AvalokiteSvara, but has understandably expanded to include the many manifestations of Avalokitetvara in South East Asia and East Asia, In China, Avalokitetvara is familiar an Kuan-yin, in Nepal as Sahasrabhuja Loke- n&thah, in Korea he is worshipped as Kwan-um, and in Japan as Senje-kannon. Despite the pervasiveness, the origins are as mysterious. Where did the concept originate? Can it be traced back to the Rgvedic description or the primordial Man in the Puruga SOkta thousand-armed and thousand- ‘eyed? Docs it appear in Hindu mythology? Is it a post-Buddhist development, especially in its later Mahayana phase? Does the concept appear in the Purdgas? Does it appear only in the Tibetan, ‘Chinese, Korean, Japanese texts? These and many more intricate and complex problems confront one at the very moment of the supplication before the icon known as the embodiment of Karuna. As in other spheres, here too it would appear that the original Sanskrit text is lost in oblivion. Nevertheless, it is equally clear that the concept and the text travelled to Tibet, China, Korea, Ja ‘The image is known by several names and the text has several versions. Underlying this multiplicity are ‘two distinet levels, of formal elements of iconography and hymnology. Iconographical structure ‘constitutes the basis ofthe concrete image, hymnology gives life to the image through invocation. Itis significant that Suzuki in his manual of Zen Buddhism repeatedly speaks of the repetition of the Dharanls (hymns) of the Thousand-Armed Avalokiteivara'as an essential part of the Zen monk's daily routine, Dr. Lokesh Chandra has spent many decades of his life trying to unravel these deep layers of and principles of form. He has reconstructed piece by piece, fragment by fragment the several ‘manuscripts relating to the Avalokiteivara and the Dharanis available in different versions. With meticulous care, he reassembles the text, lays bare iconography, describes attributes, analyses mudras, ‘compares cach version. The articulation of the Dharani, the accompanying hymn which evokes the image, is equally important. Contemporary recitations of the Dharan! of the Avalokitewara are difficult to obtain but with the help of the Chinese clleagues, ithas been possible to inchade a tape of the Dharant. The text, the versions and the illustrations, along with the vocal enunciation will give the experience of the cosmic grandeur of theimage, and the Dhararsts. The relationship of text and image, image and sound is a valuable unique contribution. Gandhi National Centre for the Arts, it was important toinclude a ‘work which exemplifies the intrinsic mull-disciplinary nature ofthe Indian and Asiantraditions. Also the Avalokitebvara asa theme was ideally suited to demonstrate the complexity of the interplay of the ‘Buddhist, Hindu and many popular traditions. The interaction amongst diverse regions—India, Tibet, ‘China, Korea and Japan—is convincingly demonstrated, It is hoped that with the publication of this ‘very important and seminal work, many more scholars will be inspired to undertake comparative work of this kind. ‘The Indira Gandhi National Centre for the Arts acknowledges its gratitude to the author for permission to publish the work in its publication programme. New Delhi 139.88 KAPILA VATSYAYAN