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In Kyoto, the former imperial capital city, you can find Kiyomizu–dera (清水寺), a complex of Buddhist shrines whose name derives from the waterfall of the river flowing on the hillside of Mount Higashiyama. The main pavilion of the shrine is dedicated to Goddess Kannon (a bodhisattva personifying compassion), and it is one of the most popular tourist attractions, famous for its vantage point based on a six-storey structure. Crowds of visitors come to this place both in spring, when the cherry trees are in bloom, and in autumn, when the maple leaves turn red.

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In Kyoto, the former imperial capital city, you can find Kiyomizu–dera (清水寺), a complex of Buddhist shrines whose name derives from the waterfall of the river flowing on the hillside of Mount Higashiyama. The main pavilion of the shrine is dedicated to Goddess Kannon (a bodhisattva personifying compassion), and it is one of the most popular tourist attractions, famous for its vantage point based on a six-storey structure. Crowds of visitors come to this place both in spring, when the cherry trees are in bloom, and in autumn, when the maple leaves turn red. During the latter season, on 8 November 1987 to be exact, Andrzej Wajda visited the place and made a drawing of the main pavilion. The image is in black and white. The artist has omitted the sea of red leaves surrounding the building on purpose. That way the image is suspended in the empty area on the piece of paper which places its location on the hillside of the mountain. Japanese artists have used the same method of complementing compositions of large and colourful patches with empty areas. Moving diagonally towards the artist's signature, there is a red seal consisting of Japanese symbols which can be read in a way similar to the name Wajda. As both elements of the signature are placed diagonally, they additionally form the image. It is worth mentioning that, in Japan, a seal is an official form of a signature used to authorise documents in the same way as an signature is used in contemporary Europe.
Andrzej Wajda visited Kyoto in 1987 so as to receive the Kyoto Prize in the field of Fine Arts and Ethics, which was spent by him on building a house of the Japanese art collection – the present Manggha Museum.
 

Elaborated by Aleksandra Görlich (The Manggha Centre of Japanese Art and Technology), editorial team of Małopolska’s Virtual Museums, © all rights reserved

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Merciful Kannon

With the first wave of Buddhism that swept the entire archipelago, a Hindu bodhisattva arrived in Japan: Avalokiteshvara. In India, he was considered the spiritual son of Buddha Amitabha (in Japanese – Amida), and also the “ocean of compassion” as well as the embodiment of Mahayana virtues.

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With the first wave of Buddhism that swept the entire archipelago, a Hindu bodhisattva arrived in Japan: Avalokiteshvara. In India, he was considered the spiritual son of Buddha Amitabha (in Japanese – Amida), and also the “ocean of compassion” as well as the embodiment of Mahayana virtues.
After settling in the lands of China, this male bodhisattva figure was transformed into the female deity, Kuan Yün – the goddess of mercy – but, upon her arrival in Japan, she was named, “Kannon” (with a Japanized Chinese name). In the opinion of theologians, however, he is still the spiritual son of Amida. He had already reached this stage of his existence, in which his sexuality ceased to have any significance. Most of the worshippers consider Kannon to be female.
Both in Japanese (writing in foreign languages) and non-Japanese literature, Kannon is consistently called a goddess. It is assumed that this is a female character, but it is not often that her depiction in this form is encountered, for example, in paintings or statues of Kannon, which could be considered as female portraits. There are also a few purely male effigies. Most of the images (which are immensely numerous) present a figure of unspecified sex.
According to the Buddhist canon, the Avalokiteshvara bodhisattva, before reaching the final liberation, Kannon paused to help others, showing them the way to liberation. In order to be able to act as effectively as possible, he assumed thirty-three different personalities, depending on whom he was dealing with at that moment. This theological assumption has found its application in pilgrimages to the “thirty-three holy places in the western provinces”. These types of pilgrimages have been going on continuously for over 1,200 years. Modern pilgrims use widely available means of transport, and sometimes organise special coach trips. However, one can still meet pilgrims acting as if they had been transported straight from the Middle Ages! Such pilgrims have very simple and loose clothing, wear wide straw cane hats on their heads, and straw sandals on their feet. When walking, they lean on pilgrim sticks and beggars’ bags hang down from their backs. Interestingly, it is rare for a pilgrim to know exactly why they are crossing vast areas of the country to visit thirty-three temples. Thus, the theological justification has ceased to be relevant – only the magic number thirty-three remained – as well as a deep faith in the goodness of the goddess Kannon.
The cult of the goddess Kannon very quickly went beyond the discourse of theologians – beyond the closed circles of the Buddhist clergy – and established a very strong position among the mass of society. Its followers see Kannon as the goddess of unlimited mercy, who helps all sick, weak, or afflicted people. She also brings relief in pain as well as comfort in misfortune. She takes care of married couples and pregnant women, giving them the possibility of an easy delivery.
Since the earliest times, Kannon has had avid worshippers among merchants and aristocrats, and the numerous temples devoted to her cult belong to the richest in the country. It is a rare to see statues of Kannon standing, for example, at road intersections or in the middle of nowhere.
One of the many local legends about the blessings of the goddess Kannon is as follows:
Once upon a time there lived a samurai who was extremely pious. For this reason, he devoted a lot of time to pilgrimages to Kiyomizu. When he had completed the two rounds of the “pilgrimage of a thousand days”, he was bursting with pride. From then on, he was sure that it would fully secure his salvation. He was still, however, an ordinary samurai, an ordinary man ... He had a certain flaw: a passion for gambling. This flaw turned out to be the cause of his misfortune. When bad times intruded on his life, he lost his savings, his clothes, swords, and even the roof over his head. He then turned to his opponent and presented him with a certain offer, which was the renunciation of all the benefits of the pilgrimage, which was at stake in the next duel. His opponent got the better of him, because he won again. As a consequence, the pair made a joint journey to Kiyomizu, to put the transaction on paper in the presence of monks.
This was a moment in the samurai’s life when nothing could save him. He had sunk low very quickly and finally died a wretch in prison. The second samurai, who had won the fight with him for the benefits of the pilgrimage, enjoyed great luck in everything he did. He became a beloved, respected, and rich man.

*A contemporary image of Senju-Kannon (one of the images of the goddess Kannon) may be associated primarily with performances, during which groups of artists perform characteristic dance choreography, aimed at presenting the goddess of a thousand hands.

Elaborated by Anna Klimczak (Editorial team of Małopolska’s Virtual Museums),
Licencja Creative Commons

 This work is licensed under a Creative Commons Attribution 3.0 Poland License.

See shrine with the Senju-Kannon Bosatsu figure in Małopolska’s Virtual Museums collection.
 

Bibligraphy:
Jolanta Tubielewicz, Mitologia Japonii, Warszawa 1977, p. 175–186.

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“Kiyomizu-dera, the Shrine of Clear Water” by Andrzej Wajda

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