And it may be observed here that although Avalokiteṡvara bears a close resemblance in character to Vishṇu, yet his images often conform to the Brahmā type, and sometimes to that of Ṡiva[97]. He has generally several faces—sometimes even eleven or twelve—and usually four or eight arms. These faces are placed one above the other in the form of a pyramid, in three tiers, and probably indicate that he looks down on all three worlds, namely, the worlds of desire, of true form, and of no form (pp. 213, 214), from all points of the horizon. Note, however, that two of his hands are generally folded, as if adoring the Buddha, while his two other hands hold such emblems as the lotus and wheel (especially the lotus). This distinguishes the images of the mere Bodhi-sattva Avalokiteṡvara from those of the god Vishṇu, who, although he has four arms, is never represented in an attitude of adoration. Note, too, that the many-headed images of Avalokiteṡvara probably belong to the later phase of the Mahā-yāna, when he was regarded as an emanation or spiritual son of the Dhyāni-Buddha Amitābha, whose head forms the eleventh above his own ten. There are descriptions of earlier idols, which make it probable that Avalokiteṡvara was originally represented in ordinary human shape. When his worship was introduced into China the name he received was Kwan-she-yin or Kwan-yin (in Japan Kwan-non)—a name denoting (according to Professor Legge) ‘one who looks down on the sounds of the world, and listens to the voices of men.’ We know that each of the chief Hindū gods had his female counterpart or Ṡakti, who is often more worshipped than the male. Similarly the female counterpart of the male Avalokiteṡvara is the form of the god chiefly worshipped in China and Japan[98]. In those countries he is only known in the feminine character of ‘goddess of mercy,’ and in this form is represented with two arms, but oftener with four or more, and even with a thousand eyes. The connexion of Avalokiteṡvara with Ṡiva, as well as with Vishṇu, is proved by the fact that in some characteristics Kwan-yin corresponds to the Durgā form of Ṡiva’s wife, and in others to the form called Pārvatī, who, as dwelling on mountains, may be supposed to look down with compassion on the world.