[Footnote 30: A temple on the north side of the lake in the Imperial City at Peking contains a gigantic image of him which has literally a thousand heads and a thousand hands. This monstrous figure is a warning against an attempt to represent metaphors literally.] [Footnote 31: Waddell on the Cult of Avalokita, _J.R.A.S._ 1894, pp. 51 ff. thinks they are not earlier than the fifth century.] [Footnote 32: See especially Foucher, _Iconographie Bouddhique_, Paris, 1900.] [Footnote 33: See especially de Blonay, _Études pour servir à l'histoire de la déesse bouddhique Târâ_, Paris, 1895. Târâ continued to be worshipped as a Hindu goddess after Buddhism had disappeared and several works were written in her honour. See Raj. Mitra, _Search for Sk. MSS_. IV. 168, 171, X. 67.] [Footnote 34: About the time of Hsüan Chuang's travels Sarvajñâmitra wrote a hymn to Târâ which has been preserved and published by de Blonay, 1894.] [Footnote 35: Chinese Buddhists say Târâ and Kuan-Yin are the same but the difference between them is this. Târâ is an Indian and Lamaist goddess _associated_ with Avalokita and in origin analogous to the Saktis of Tantrism. Kuan-yin is a female form of Avalokita who can assume all shapes. The original Kuan-yin was a male deity: male Kuan-yins are not unknown in China and are said to be the rule in Korea. But Târâ and Kuan-yin may justly be described as the same in so far as they are attempts to embody the idea of divine pity in a Madonna.] [Footnote 36: But many scholars think that the formula Om manipadme hum, which is supposed to be addressed to Avalokita, is really an invocation to a form of Śakti called Maṇipadmâ. A Nepalese inscription says that "The Śâktas call him Śakti" (_E.R.E._ vol. II. p. 260 and _J.A._ IX. 192), but this may be merely a way of saying that he is identical with the great gods of all sects.] [Footnote 37: Harlez, _Livre des esprits et des immortels_, p. 195, and Doré, _Recherches sur les superstitions en Chine_, pp. 94-138.] [Footnote 38: See Fenollosa, _Epochs of Chinese and Japanese Art_ I. pp. 105 and 124; Johnston, _Buddhist China_, 275 ff. Several Chinese deities appear to be of uncertain or varying sex. Thus Chun-ti is sometimes described as a deified Chinese General and sometimes identified with the Indian goddess Marîcî. Yü-ti, generally masculine, is sometimes feminine. See Doré, _l.c._ 212. Still more strangely the Patriarch Aśvaghosha (Ma Ming) is represented by a female figure. On the other hand the monk Ta Shêng (c. 705 A.D.) is said to have been an incarnation of the female Kuan Yin. Mañjuśrî is said to be worshipped in Nepal sometimes as a male, sometimes as a female. See Bendall and Haraprasad, _Nepalese MSS_. p. lxvii.] [Footnote 39: de Blonay, _l.c._ pp. 48-57.] [Footnote 40: Chinese, Man-chu-shih-li, or Wên-shu; Japanese, Monju; Tibetan, hJam-pahi-dbyans (pronounced Jam-yang). Mañju is good Sanskrit, but it must be confessed that the name has a Central-Asian ring.]