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With the localization of the belief in Guanyin, each area adopted their own Potalaka. Naksansa is considered to be the Potalaka of Guanyin in Korea. Japan's Potalaka is located at Fudarakusan-ji. Tibet's Potalaka is the Potala Palace. There are several pilgrimage centers for Guanyin in East Asia. Putuoshan is the main pilgrimage site in China. There is a 33 temple Guanyin pilgrimage in Korea which includes Naksansa. In Japan, there are several pilgrimages associated with Guanyin.
The oldest one of them is the Saigoku Kannon Pilgrimage , a pilgrimage through 33 temples with Guanyin shrines. Guanyin is also beloved and worshipped in the temples in Nepal. The Hiranya Varna Mahavihar located in Patan is one example. Statues of Guanyin are a widely depicted subject of Asian art and found in the Asian art sections of most museums in the world. However, the original form was indeed Avalokitasvara which contained morpheme svara "sound, noise" and was a compound meaning "sound perceiver", literally "he who looks down upon sound" i.
The original form Avalokitasvara appears in Sanskrit fragments of the fifth century. Due to the devotional popularity of Guanyin in Asia, she is known by many names, most of which are simply the localised pronunciations of "Guanyin" or "Guanshiyin":.
In these same countries, the variant Guanzizai "Lord of Contemplation" and its equivalents are also used, such as in the Heart Sutra , among other sources. This chapter is devoted to Avalokitesvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name.
Although this depiction still exists in the Far East, Guanyin is more often depicted as a woman in modern times. Additionally, some people believe that Guanyin is androgynous or perhaps without gender. A total of 33 different manifestations of Avalokitasvara are described, including female manifestations, all to suit the minds of various beings. Chapter 25 consists of both a prose and a verse section. Representations of the bodhisattva in China prior to the Song dynasty — were masculine in appearance.