Religious art is diverse in both culture and visual art. Upon studying countless research related to religious art, the Bodhisattva Guanyin proved to be most varied in images and forms that transcends the concept of time and space. The Bodhisattva Guanyin is a respected and worshipped idol for many believers. The images are traditionally displayed in forms of paintings and sculptures. If exhibited in male forms, the images depict solemn facial features similar to that of an Indian emperor; if portrayed in female forms, the images then encompass the benevolent and graceful characteristics of Eastern ladies. The Bodhisattva Guanyin is immensely compassionate and merciful in spirit, and the teachings of “transcending oneself is the transcendence of other sentient beings” take roots in the hearts of many. Through artistic creations of the Bodhisattva images, the lenient, compassionate, and benevolent images of the Bodhisattva are demonstrated to the world. They reflect the spiritual pursuit of people in different eras, conveying how people find comfort within their spirits and souls. They echo the emotions of the masses within the society, and are closely related to our daily lives, as a part of culture and religion. These images not only elevate one spiritually, but also enrich cultural significance. Buddhist art is a conveyance of observations, creations, and internalization of one’s spiritual integrity. Therefore, artists forge visions through imagination, creating moving spiritual emotions of humans. By simply observing the silent creations, one may be drawn to their noble beauties, and in turn achieve transcendence within the soul. This dissertation explores the transformations of Guanyin images and the connotations within. From the Kaya (the Buddha body) to the thirty-two Nirmanakaya (physical manifestations of the Buddha), hundreds and thousands of images convey cultural meaning and the aesthetics of life, as a learning opportunity and elevation for the spirit of life.
