Symbolism of White Colour and the Gender Transformation of Avalokiteśvara
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Abstract
One of the most significant transformations in the visual and literary representation of Avalokiteśvara (Kuan-yin) in China is the gradual shift in gender identity. While early depictions followed Indian iconographic conventions that presented the bodhisattva in a male form, Chinese sources increasingly emphasized the color white in textual prescriptions concerning the making of Kuan-yin images. This emphasis later crystallized in the emergence of the “White-robed Kuan-yin,” a distinctly feminized manifestation that came to be widely revered as a goddess. Taking into account the differing criteria for gendered iconographic markers in Indian and Chinese artistic traditions, this paper argues that the association of Kuan-yin with the color white resonated deeply with Chinese aesthetic sensibilities and cultural symbolism. In the Sui–Tang period, this chromatic and symbolic alignment facilitated a gradual yet profound feminization of Kuan-yin in both literature and visual art, marking a pivotal moment in the Sinicization of Avalokiteśvara.
Highlights
This paper argues that the textual emphasis on the color white in representations of Avalokiteśvara resonated with Chinese aesthetic and cultural conventions, thereby contributing to the feminization of Kuan-yin in Sui–Tang literature and visual art.
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Copyright: CC BY-NC-ND 4.0
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