Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
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30 Introduction<br />
despite his formal display <strong>of</strong> gratitude, she reveals her identity to<br />
her mother, when the latter washes her wounds. But whereas Miaoshan<br />
may demonstrate her exceptional character as a saint by her<br />
willingness to donate her limbs to a father she will go on to berate<br />
at length for his moral turpitude, her mother shows herself to be a<br />
truly compassionate human being. Miaoshan may show what one<br />
may be capable <strong>of</strong> if, transcending all attachments, one frees oneself<br />
<strong>of</strong> all anger, but her mother demonstrates the strength <strong>of</strong> a love that<br />
grows from attachment. That may be why The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong><br />
Incense Mountain in its final pages devotes quite some space to<br />
the king’s future buddhahood but has nothing further to say about<br />
the queen.<br />
<strong>Guanyin</strong>’s Acolytes: The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Good-in-Talent<br />
<strong>and</strong> Dragon Girl<br />
In popular iconography <strong>of</strong> the Ming <strong>and</strong> Qing dynasties the Whiterobed<br />
<strong>Guanyin</strong> is <strong>of</strong>ten accompanied by two young acolytes, one<br />
male <strong>and</strong> one female. While triads <strong>of</strong> deities are common in medieval<br />
Chinese Buddhist iconography, it is not usual to find a buddha<br />
or bodhisattva accompanied by both a male <strong>and</strong> a female disciple.<br />
For instance, on a Northern Song–dynasty painting from Dunhuang,<br />
now in the Boston Museum <strong>of</strong> Fine Arts, Avalokiteśvara is<br />
still accompanied by a shan tongzi (youth [keeping track] <strong>of</strong> good<br />
deeds) <strong>and</strong> an e tongzi (youth [keeping track] <strong>of</strong> evil deeds). 102<br />
Many scholars therefore assume that the representation <strong>of</strong> <strong>Guanyin</strong><br />
with one male <strong>and</strong> one female acolyte was inspired by the iconography<br />
<strong>of</strong> the Jade Emperor, the highest deity in the traditional Chinese<br />
pantheon, who is <strong>of</strong>ten accompanied by the Golden Lad <strong>and</strong><br />
the Jade Maiden. However, irrespective <strong>of</strong> their ultimate origin,<br />
<strong>Guanyin</strong>’s acolytes soon became identified as Shancai (Good-in-<br />
Talent, Sudhana) <strong>and</strong> Longnü (Nāgakanyā, Dragon Daughter). 103<br />
Both Shancai <strong>and</strong> Longnü have a well-established scriptural<br />
pedigree. The same Lotus Sutra that in chapter 25 elaborates on<br />
the miraculous powers <strong>of</strong> Avalokiteśvara devotes a large part <strong>of</strong><br />
chapter 12 to a description <strong>of</strong> the precocious wisdom <strong>of</strong> Dragon<br />
Girl. She is there described as the eight-year-old daughter <strong>of</strong> the<br />
Dragon King Sāgara; she achieves instantaneous enlightenment<br />
<strong>and</strong> <strong>of</strong>fers a pearl to the Buddha. 104 While the Lotus Sutra does not