�n�� ǧ���^��D? ??? ǧ���^�� �J�R? �D��? ׃�� (Understanding and Iconographic Transformation of One Thousand-armed Avalokite?vara in Korea)

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This study uses documentary records and extant works of arts to explore the Korean adoption, worship and representation of Thousand-armed Avalokite?vara, previously popular in China.
In China, depictions of Thousand-armed Avalokite?vara generally portray 40 of the bodhisattva's ��large hands�� (holding objects or in mudr��s), while showing great diversity in other ways such as incorporating doctrines of Buddhism and differing in terms of order and layout. Avalokite?vara's retinue is generally depicted the Twenty-eight Devas stated in the Thousand Eyes and Hands S��tra, with Vasu and Lak?m�� attending to each side of the bodhisattva. Meanwhile, a hungry ghost and a poor man are characteristic iconographies that do not appear in Buddhist scripture and were invented in China; these are thought to represent desires in this world and the next. It is revealed that Thousand-armed Avalokite?vara was particularly worshipped in China for the benefit of the deceased in the afterlife and for the safety of the country.
Written records from the Goryeo period tell us that worship of Thousand-armed Avalokite?vara for the deceased and the country took place in Korea as well as in China. However, both documents and iconography in Thousand-armed Avalokite?vara paintings reveal that Thousand-armed Avalokite?vara was regarded as the same as the conventional Avalokite?vara described in the Avalokite?vara S��tra (a chapter of the Lotus S��tra). The writings of Goryeo scholar and poet Lee Gyu-bo offer a key illustration of the understanding of Thousand-armed Avalokite?vara during this period, relating how Avalokite?vara paintings, rather than Thousand-armed Avalokite?vara statues, were used in rituals praying for the protection of the country. Moreover, Goryeo and early-Joseon Thousand-armed Avalokite?vara paintings feature images of the boy Sudhana, the retinue of Water-moon Avalokite?vara, against a natural background, instead of the retinue associated with Thousand-armed Avalokite?vara in China; this, too, is an expression of the different Korean understanding of the bodhisattva.
Late-Joseon Thousand-armed Avalokite?vara paintings use even more pronounced depictions of natural background motifs such as flowing clouds, waves, bamboo and birds, while featuring images of the Dragon King opposite Sudhana, creating compositions similar to those of Water-moon Avalokite?vara paintings. This serves as further confirmation that Thousand-armed Avalokite?vara was regarded and depicted in Korea as the bodhisattva of the Avalokite?vara S��tra. However, the notable tendency to use the term ��Forty-two Hands Avalokite?vara�� and emphasize forty-two ��large hands�� can be seen as influenced by the introduction and continuous dissemination of the Forty-two Hands Mantra, which appeared later on in China.
In conclusion, Koreans regarded Thousand-armed Avalokite?vara as the same Avalokite?vara that appears in the Chapter of the Universal Gate of the Lotus S��tra. Recitation of the Great Compassion Dh��ra?�� spoken by Avalokite?vara became more popular than faith in Thousand-armed Avalokite?vara, and pictorial representations of the deity gave visual form to the dignity and power of the thousand arms through Thousand-armed or Forty-two Hands Avalokite?vara within compositions conventionally associated with Water-moon Avalokite?vara.