Shinto and Buddhism

The introductions of writing in the 5th century and Buddhism in the 6th century from the Korean Peninsula had a profound impact on the development of a unified system of Shinto beliefs. In the early Nara period the Kojiki and the Nihon Shoki were written by compiling existing myths and legends into a unified account of Japanese mythology. These accounts were written with two purposes in mind: the introduction of Taoist, Confucian, and Buddhist themes into Japanese religion; and garnering support for the legitimacy of the Imperial house, based on its lineage from the sun goddess, Amaterasu. Much of modern Japan was under only fragmentary control by the Imperial family, and rival ethnic groups (including, perhaps, the ancestors of the Ainu people) continued to war against the encroachment of the Japanese. The mythological anthologies, along with other poetry anthologies like the Collection of Ten Thousand Leaves (Man'yōshū) and others, were intended to impress others with the worthiness of the Imperial family and their divine mandate to rule.

With the introduction of Buddhism and its rapid adoption by the court, it was necessary to explain the apparent differences between native Japanese beliefs and Buddhist teachings. Indeed, Shinto did not have a name until it became necessary to distinguish it from Buddhism. One explanation saw the kami as supernatural beings still caught in the cycle of birth and rebirth (reincarnation). The kami are born, live, die, and are reborn like all other beings in the karmic cycle. However, the kami played a special role in protecting Buddhism and allowing its teachings of compassion to flourish. This explanation was later challenged by Kūkai (空海, 774–835), who saw the kami as different embodiments of the Buddhas themselves. For example, he famously linked Amaterasu (the sun goddess and ancestor of the Imperial family) with Dainichi Nyorai, a central manifestation of the Buddha, whose name is literally "Great Sun Buddha". In his view, the kami were just Buddhas by another name.

Buddhism and Shinto coexisted and were amalgamated in the shinbutsu shūgō and Kūkai's syncretic view held wide sway up until the end of the Edo period. At that time, there was a renewed interest in "Japanese studies" (kokugaku), perhaps as a result of the closed country policy. In the 18th century, various Japanese scholars, in particular Motoori Norinaga (本居 宣長, 1730–1801), tried to tease apart the "real" Shinto from various foreign influences. The attempt was largely unsuccessful, since as early as the Nihon Shoki parts of the mythology were explicitly borrowed from Chinese doctrines. For example, the co-creator deities Izanami and Izanagi are linked to yin and yang. However, the attempt did set the stage for the arrival of state Shinto, following the Meiji Restoration (c.1868), when Shinto and Buddhism were separated (shinbutsu bunri).

Hollywood takes action hero Jesus to India

Hollywood is to fill in the Bible's "missing years" with a story about Jesus as a wandering mystic who travelled across India, living in Buddhist monasteries and speaking out against the iniquities of the country's caste system.

Film producers have delved deep into revisionist scholarship to piece together what they say was Jesus's life between the ages of 13 and 30, a period untouched by the recognised gospels.

The result is the Aquarian Gospel, a $20m movie, which portrays Jesus as a holy man and teacher inspired by a myriad of eastern religions in India. The Aquarian Gospel takes its name from a century-old book that examined Christianity's eastern roots and is in its 53rd reprint.

The film's producers say the movie will be shot using actors and computer animation like 300, the retelling of the Battle of Thermopylae, and will follow the travels of Yeshua, believed to be the name for Jesus in Aramaic, from the Middle East to India. Casting for suitable Bollywood and Hollywood actors has begun.

"The Bible devotes just seven words to the most formative years of Yeshua's life saying: 'The boy grew in wisdom and stature'. The [film] will follow Christ's journey to the east where he encounters other traditions, and discovers the principles that are the bedrock of all the world's great religions," said Drew Heriot, the film's director, whose credits include the cult hit The Secret.

The film, which is due for release in 2009, sets out to be a fantasy action adventure account of Jesus's life with the three wise men as his mentors. Although the producers say the film will feature a "young and beautiful" princess, it is not clear whether Jesus is to have a love interest.

The producers say they are hoping for commercial and spiritual gains. "We think that Indian religions and Buddhism, especially with the idea of meditation, played a big part in Christ's thinking. In the film we are looking beyond the canonised gospels to the 'lost' gospels," said William Sees Keenan, the producer, who is currently making Lindsay Lohan's Poor Things.

"We are looking at new themes. In our story Jesus was loyal to the untouchables [in India] and he defended them with his life by saying that everyone could read the Vedas [Hindu holy books]," said Mr Keenan, a "lapsed Catholic".

The theory that Jesus's teachings had roots in Indian traditions has been around for more than a century. In 1894 a Russian doctor, Nicholas Notovitch, published a book called The Unknown Life of Christ, in which he claimed that while recovering from a broken leg in a Tibetan monastery in the Ladakh region, close to Kashmir, he had been shown evidence of Christ's Indian wanderings. He said he was shown a scroll recording a visit by Jesus to India and Tibet as a young man. Indian experts claim that documentary proof remains of this Himalayan visit.

"I have seen the scrolls which show Buddhist monks talking about Jesus's visits. There are also coins from that period which show Yuzu or have the legend Issa on them, referring to Jesus from that period," said Fida Hassnain, former director of archaeology at the University of Srinagar.

Hassnain, who has written books on the legend of Jesus in India, points out that there was extensive traffic between the Mediterranean and India around the time of Jesus's life. The academic pointed out that in Srinagar a tomb of Issa is still venerated. "It is the Catholic church which has closed its mind on the subject. Historians have not."

More dramatic are the claims that Buddhism had prompted the move from the "eye for an eye" ideology of the Old Testament to "love thy neighbour" in the New Testament.

In 1995 a German religious expert, Holger Kersten, claimed that Jesus had been schooled by Buddhist monks to believe in non-violence and to challenge the priesthood. Kersten's book remains a bestseller in India.

The Catholic church in India dismisses the film as just "Hollywood filmmakers in search of a new audience rather than the truth". Aware that religious passions are easily inflamed, after the Da Vinci Code film sparked protests among Indian Christians, its spokesman said that a movie about Jesus in India was plainly "fantasy and fiction".

"I have personally investigated many of these claims and they remain what they first seem: fiction," said John Dayal, president of the All India Catholic Union which represents 16 million churchgoers. "I am sure it will make money but I do not think it will displace thousands of years of biblical thought."

In 1935 a Shinto priest claimed that instead of being crucified, Jesus had fled to Japan where he lived to be 112. He married a Japanese woman, had three daughters and became a respected teacher and prophet

Historical Roots of Traditional Chinese Medicine

Oriental Medicine is a term with many variations of a general meaning. Among the majority of american practitioners it refers to a system of medicine which originated approximately 4000 years ago in in far east Asia. This area included what are now China, Korea, Japan, Tibet, and Vietnam.

In the 20th century Oriental Medicine serves almost two billion people in far east Asia, the former Soviet Union and Europe. In the U.S. thirty-eight states have scope of practice for NCCAOM National Commission for the Certification of Acupuncture and Oriental Medicine or equivalent level practitioners. There are approximately 10,000 NCCA national board certified acupuncturists in the country. Since several states have licensure requirements and processes that are independent of the NCCA exhaustive totals have not been compiled.

Research on Oriental Medicine has been continual in China since the early 1950’s. After the civil war was settled in 1948, the Communist Government of China realized it could not afford to train, let alone equip, a sufficient number of allopathic doctors to meet the needs of the country’s population. The government evaluation of the traditional medicine showed that it had enough effectiveness to warrant not only active use and perpetuation but development. Today Traditional Chinese Medicine (TCM) is practiced in allopathic hospitals, in traditional hospitals, in conjunction with allopathic medicine, and hybrids of both forms of medicine have been developed.

Although Oriental Medicine has a set of foundation principles it is not uniform. There have been and are many schools of thought. Oriental Medicine is a complete health care system capable of delivering both primary and specialized care. It’s based on principles which began evolving approximately between 2000BC and 4000BC and which continue to evolve. The roots of Oriental Medicine are considered by most to be Buddhism, Taoism, and Confucianism. Buddhism is a religion, Confucianism is social and political philosophy, and Taoism is both a religion and a philosophy. These are gross simplifications. Literally thousands of volumes have been written on these subjects.

Taoism is the most influential root of Oriental Medicine. The Taoists main focus was on the observable and natural laws of the universe and the implications for human beings’ relationship to the universe. 2500 years (5000BC - 500BC) allowed much time for observation, study and speculation by many people. This activity yielded myriad principles. Below are five of the fundamental principles and applications of them to health and healing.

• THERE ARE NATURAL LAWS THAT GOVERN THE UNIVERSE.
  You are part of the universe and therefore exist according to and subject to those laws.

• THE NATURAL ORDER OF THE UNIVERSE IS HARMONIUS AND ORGANIZED.
  If you live according to it’s laws you will be harmonius.

• THE UNIVERSE IS DYNAMIC; CHANGE IS A CONSTANT.
  Lack of change is contrary to the universe and therefore causes illness.

• ALL LIFE IS INTERCONNECTED
  Always use a systems approach.

• HUMANS ARE A PART OF THE UNIVERSE, NOT OUTSIDE OF IT. WE ARE INTIMATELY CONNECTED TO THE ENVIRONMENT AND THUS THE UNIVERSE.
  Your health is affected by your environment.

These principles are the axioms about existence that form the foundation for Yin & Yang, The Five Elements, and Qi (pronounced chee). And those concepts are the primary engines of Oriental Medicine.

The Goddess Of Mercy Reviewed

The Goddess Of Mercy
Dir: Shin Sang Okk, Lim Won Sik
Released: March 21, 1967

Imagine being entirely ignorant of Moses and watching The Ten Commandments and you’ll have a rough idea of what watching The Goddess Of Mercy is like for non-Buddhists. Now take out all of the scenes where Moses acts like a jerk, and you’ll start to grasp how the film’s shallowness.

Made as a co-production with South Korea, "Goddess" tells the story of religious icon Kuan Yin, he bodhisattva of compassion, who, in her earthly form of Li Miao Shan, brought Buddhism to ancient China and ascended into heaven. Shaw Brothers knew that their Chinese (and, I assume, Korean) audiences would already know the story of Kuan Yin, so they replaced all of the exposition with spectacle.

The result is a movie that, by 1967 Shaw Brothers standards, is chock-a-block with special effects — magical bridges appear from nowhere, force fields protect besieged peasants, battles rage over wide-open plains. Filmed mostly in South Korea, Goddess takes advantage of the new scenery and delivers some nice outdoor visuals.

The downside to all these glamour shots is a painfully simplistic story that neglects to fill in the important details. For example, we never see Miao convert to Buddhism. In one scene she says she’s interested and later on she’s a committed follower.

Any film about religious struggle needs to live in the grey areas where faith falters; how else are human audiences going to sympathize with the characters? Goddess, however, banishes grey and only recognizes black and white. Miao and the other Buddhists are presented as unfailing saints while non-believers twist their Snidely Whiplash mustaches and cackle over slaughtered farmers.

The closest Goddess comes to critiquing Miao is in a odd dance number. After Miao and her dancers finish singing the praises of Buddhism, her militaristic father (Kim Song-ho) beats out a vicious martial tattoo while his soldiers dance and sing a pean to killing and murder. It’s an odd scene, but it has more life than the rest of the film.

While shooting in Korea, Shaw Brothers made the film twice. Once with longtime Chinese box office queen Li Li-Hua in the starring role, and a second time with a Korean actress taking the lead. Celestial has only released the Hong Kong version so far.

Kuan Yin, The Compassionate Rebel

The evolution of Buddhism in Asia and its spread throughout the world is, from a spiritual point of view, none other than the unfolding of karuna in history. Nowhere is this more explicitly exemplified than in the Chinese assimilation of Buddhism. Few would deny that the defining symbol of this integration is the goddess, who with her sweet and merciful disposition, has won the hearts of not only the Chinese, but also profoundly affected even those who, belonging to a foreign tradition, have only had a fleeting interaction with her. This divine female is none other than Kuan Yin, beloved goddess of over a billion people the world over. Her name too signifies her compassionate nature, literally meaning 'One who hears the cries of the world.'

It is relevant here to observe that Kuan Yin is often depicted in art holding a leafy twig, derived from the 'weeping willow' tree, known so due to its trailing leafy branches that droop to the ground and along which raindrops trickle down like tears.

One of its distinctive characteristics is remaining green throughout the year, pointing perhaps to the goddess' fertility aspect, which is further echoed in images showing her with an infant.

The willow also has a deeper and direct connection with Chinese culture and it is believed that Lao Tzu, the author of Tao-te Ching, loved to meditate under its shade (6th century BC). It was under the same tree that the younger Confucius had his famous interview with Lao Tzu, telling his disciples afterwards:

"I know how birds fly, fishes swim and animals run. But there is the dragon - I cannot tell how he mounts on the winds through the clouds, and rises to heaven. Today, having seen Lao Tzu, I can only compare him to the dragon."

Over centuries, Kuan Yin's visual depictions have highlighted her lithe, flowing form, much like the willow tree itself, which has the ability to bend during the most ferocious winds and then spring back into shape again. Indeed, who wants to stand rigid like the tall oak that cracks and collapses in a storm? Instead, one needs to be flexible like the willow, which survives the tempest.

Or perhaps, Kuan Yin merely uses the willow branch to sprinkle the divine nectar of life on her devotees, which is stored in the vase she holds in her other hand.

The legend describing how Kuan Yin was once a woman gives a fascinating insight into the working of the Chinese genius and the process by which she was given a distinctively local flavor and absorbed into their pantheon:

It is said that in the past, there once lived a king under whose rule the people led a peaceful existence governed by Confucian ethics. He had three daughters; the eldest two having already married the grooms of their father's choice. The youngest offspring however, was unlike any other normal child. Firstly, when she was born, her body glowed with an almost unearthly light so much so that the palace seemed on fire. She was thus befittingly named Miao Shan (Wonderful Goodness).

Secondly, as she grew up, she wore only dirty clothes and never did display any urge to adorn herself. Further, she would subsist on only a single meal every day. In her conversations she would talk about the impermanence of material things and how human beings suffer because of their attachment to such objects. Naturally worried about their daughter's detached inclinations, her parents proposed that (as per the Confucian ideals of filial piety) she too marry a husband of their choice. To this she replied:

"I would never, for the sake of one lifetime of enjoyment, plunge into aeons of misery. I have pondered on this matter and deeply detest this earthly union (marriage)."

Nevertheless, when her parents insisted, she agreed to comply with their wishes if only her future mate would save her from the following three misfortunes:

1). When people are young, their face is as fair as the jade-like moon, but when they grow old, the hair turns white and faces become wrinkled; whether walking, resting, sitting, or lying down, they are in every way worse off than when they were young.

2). Similarly, when our limbs are strong and vigorous one may walk as if flying through air, but when we suddenly becomes sick, we are confined to the bed.

3). A person may have a large group of relatives and be surrounded by his flesh and blood, but when death comes, even such close kin as father and son cannot take the person's place.

Finally she concluded:

"If indeed my future husband can ensure my deliverance against these misfortunes, I will gladly marry him. Otherwise, I vow to remain a spinster all my life. People all over the world are mired in these kinds of suffering. If one desires to be free of them, the only option is to leave the secular world and enter the gate of Buddhism."

This narrative of course, is parallel to one of the most significant episodes from the life of the Buddha when he encountered the three maladies of physical existence: sickness, old age and death.

Exasperated to no end, the king summoned an old and experienced nun of his kingdom. He asked her to take the princess under tutelage and expose her to as much hardship as possible in the nunnery, so that she realize the futility of her desired path. The instruction was tinged with a threat of annihilation if after seven days Miao Shan was not 'reformed'.

Needless to say, all the travails she had to undergo at the monastery, including hard manual labor, were insufficient to deter her from the path of Dharma. However, Miao Shan did realize that she was being thus subjected because the inhabitants of the nunnery were under the threat of death. She addressed them, saying:

"Don't you know the stories about the ancient prince Mahasattva, who plunged off the cliff in order to feed the hungry lions, or King Sivi's cutting off his flesh to save a dove? Since you have already left the life of a householder, you should regard this material body as illusory and impermanent. Why do you fear death and love life? Don't you know that attachment to this dirty and smelly leather bag (body) is an obstacle?"

At the end of the stipulated period, the monarch, in a mad and frenzied reaction, ordered that Miao Shan be beheaded. As her executioners approached the monastery gates, Miao Shan rushed out of the building, eager to embrace her impending death. No sooner had she kneeled at the stake and the deadly sword been raised, than a blinding thunder rose. Before the assailants could regain their composure, a tiger darted out of the darkness and carried away the swooning girl into the nearby hills. The king, now beyond the bounds of reason, ordered the hermitage to be burnt down with all its inhabitants.

It was not long before his karma caught up with him and he fell sick with kaamla (jaundice). He was restless for days on end, finding no rest even in sleep. The disease spread all over his body and the best doctors throughout the land were unable to cure him. One day, a holy mendicant came to his door and predicted:

"If some person would willingly consent to give his or her arms or eyes without the slightest anger or resentment, the elixir made of these potent ingredients will surely relieve you from your suffering."

"Where alas will I find such a compassionate being?" lamented the king. "In this very land," said the monk. "Go southwest in your dominion, on top of the mountain there is a hermit who possesses all the characteristics which are necessary for your healing."

No sooner had he heard this than the king ordered his envoys to hurry to the abode of the recluse. On being informed of his plight and its prescribed remedy, the hermit readily agreed to undergo the supreme sacrifice, requesting them to ask the suffering king to direct his mind to the three treasures of Buddhism and then very calmly proceeded to gauge out both the eyes and asked one of the men to sever the two arms. The three worlds shook under the impact of this terrible sacrifice.

When he had fully recovered, the king made haste with his wife to pay homage to the one who had so miraculously saved his life. After bowing low before the mutilated form, as soon as they raised their heads they let out a shriek of astonished horror; the hermit's true identity lay bare before them. She was none other than their youngest daughter Miao Shan. Realizing what she had done for him, despite all that he had done to her, the king fell prostrate upon the floor and asked for forgiveness. Overcome with emotion, the parents embraced her and the father said: "I am so evil that I have caused my own daughter terrible suffering." Miao Shan replied,

"Father, I have suffered no pain. Having given up these human eyes, I shall see with diamond eyes. Having yielded the mortal arms, I shall receive golden arms. If my calling is true all this will follow."

Much sobered by this intense experience, the king returned to his palace and ordered a statue to be made of her, which, emphasizing her sacrifice was to be without eyes and hands. Now, in Chinese, the sound for 'bereft' or 'deficient' are virtually identical with 'thousand.' At some stage in the transmission of this message, the two words were confused and the sculptor toiled away, desperately seeking some way to capture the essence of the king's wishes. He very imaginatively (or perhaps following Indian or Tibetan models) placed one eye on each palm, making the number of eyes equal to the arms, giving rise in the process to an awesome and complex image of breathtaking splendor.

The story of Miao Shan represents the fusion of the Buddhist theme of the gift of the body and the Confucian concept of filial piety. In the former tradition, giving is one of the six perfections performed by a bodhisattva (would be Buddha). Amongst the different forms of gifts, that of one's own body is the best. The only difference is that while the bodhisattvas give up their bodies in order to feed or save sentient beings regardless of any formal relationship with them, the fact that Miao Shan does so for her father is where the Confucian model comes in. In the former context, a tale is narrated of the Buddha, who in one of his previous births was a pigeon. He saw a man lose his way during a snowstorm, driven to the point of starvation. The pigeon gathered twigs and leaves, made a fire and threw himself wholeheartedly into it, to become food for the distressed soul. It is this lofty ideal that Kuan Yin was following, a self-sacrifice par excellence, motivated by pure (selfless) and indiscriminate compassion (karuna).

On the other hand, Kuan Yin as Miao Shan gives a bold and provocative message, challenging Confucian value systems as delineated in the 'Classic of Filial Piety' (published by the emperor Xuan in AD 722). Her life glorifies austerity, celibacy and renunciation, which, as per Buddhism, are highly valued (against the householder, who is necessary in Confucianism for creating offspring to perpetuate the lineage). In times of the Ming for example, one could achieve religious sanctification by performing one's domestic obligations to the fullest degree. Eventually, Chinese of all social strata and both sexes came to know Kuan Yin as the strong-willed yet filial girl, who refused to get married and rebelled against stifling authority.

The goddess Kuan Yin is a symbol, not only of the Chinese assimilation of Buddhism, but also of the many hued flavor of karuna, expressed through the softer wisdom of a woman. She is a pointer to the re-emergence of the goddess and the gender transformation of Avalokiteshvara in China represents perhaps a universal imperative, which is similarly reflected in the emanation of the goddess Tara from the compassionate tears of the same bodhisattva. Though often images are encountered, which show her sporting a moustache, emphasizing masculinity; this is negated by the softness of her demeanor.

Can anything be more subtly female than her graceful poise - modest and inward looking, yet potent enough to generate and compassionately nourish the whole outside world? In the words of Martin Palmer: "The divine feminine cannot be suppressed for long. In China, it emerged by the transformation of the male into the female," only god (or the goddess) knows how it will transpire in other cultures.

Quan Yin, The Goddess of Compassion and Mercy

Quan Yin/Kuan Yin is an incarnation of Mary, Sophia, and other feminine icons. They are all the same soul - given the Yin frequency.

For centuries, Kuan Yin has epitomized the great ideal of Mahayana Buddhism in her role as "bodhisattva (Chinese "p'u-sa)--literally "a being of bodhi, or enlightenment," who is destined to become a Buddha but has foregone the bliss of Nirvana with a vow to save all children of God.

Quan Yin carries the Goddess and Divine Mother aspect of Buddhism. The same Goddess and Divine energy carried by the Virgin Mary in Christianity. In the Egyptian mysteries it is carried by Isis. In Hinduism it is carried by Shakti, wife of Vishnu, by Parvarti, wife of Shiva, by Radha, wife of Krishna, and by Sita, wife of Rama.

Quan Yin's name is a translation of the Sanskrit name of her chief progenitor which is Avalokitesvara, also known as Avalokita. In its proper form it is Kuanshih Yin, which means "She who harkens to the cries of the world."

In Korea, Japan, and China she is called Quan Yin. She is a celestial bodhisattva and an ascended master. One of her jobs in the celestial spheres is to sit on the board of the Lord of Karma.

Buddhist mythology tells of Avalokitesvara's being born from a ray of light that sprang from Amitabha Buddha's right eye. He immediately said, "Om Mane Padme Hum". This is one of the mantras by which he can be invoked in Buddhist tradition.

Avalokitesvara came to be known by most Tibetans as Buddha's earthly representation and as chief gusrdian of the dharma (doctrine) until the advent of Maitreya Buddha. Avalokitesvara and Quan Yin are embodiments of compassion. She is roughly equivalent to Green Tara in Tibetan Buddhism.

In Tibetan Buddhism, Quan Yin is seen in her male form as Avalokitesvara. Some feel that the current dali Lama is an incarnation of Avalokitesvara. It is thought that the female form of Avalokitesvara, Quan Yin, originated in the twelth or thirteenth century in both China and Japan. The Saddharma Pundarika Sutra affirms that Avalokitesvara had 357 incarnations.

Quan Yin is one of the most universally beloved of deities in the Buddhist tradition. Also known as Kuan Yin, Quan'Am (Vietnam), Kannon (Japan), and Kanin (Bali), She is the embodiment of compassionate loving kindness. As the Bodhisattva of Compassion, She hears the cries of all beings. Quan Yin enjoys a strong resonance with the Christian Mary, the Mother of Jesus, and the Tibetan goddess Tara.

In many images She is depicted carrying the pearls of illumination. Often Quan Yin is shown pouring a stream of healing water, the "Water of Life," from a small vase. With this water devotees and all living things are blessed with physical and spiritual peace. She holds a sheaf of ripe rice or a bowl of rice seed as a metaphor for fertility and sustenance. The dragon, an ancient symbol for high spirituality, wisdom, strength, and divine powers of transformation, is a common motif found in combination with the Goddess of Mercy.

Sometimes Kuan Yin is represented as a many armed figure, with each hand either containing a different cosmic symbol or expressing a specific ritual position, or mudra. This characterizes the Goddess as the source and sustenance of all things. Her cupped hands often form the Yoni Mudra, symbolizing the womb as the door for entry to this world through the universal female principle.

Quan Yin, as a true Enlightened One, or Bodhisattva, vowed to remain in the earthly realms and not enter the heavenly worlds until all other living things have completed their own enlightenment and thus become liberated from the pain-filled cycle of birth, death, and rebirth.

There are numerous legends that recount the miracles which Quan Yin performs to help those who call on Her. Like Artemis, She is a virgin Goddess who protects women, offers them a religious life as an alternative to marriage, and grants children to those who desire them.

The Goddess of Mercy is unique among the heavenly hierarchy in that She is so utterly free from pride or vengefulness that She remains reluctant to punish even those to whom a severe lesson might be appropriate. Individuals who could be sentenced to dreadful penance in other systems can attain rebirth and renewal by simply calling upon Her graces with utter and absolute sincerity. It is said that, even for one kneeling beneath the executioner's sword already raised to strike, a single heartfelt cry to Bodhisattva Quan Yin will cause the blade to fall shattered to the ground.

The many stories and anecdotes featuring this Goddess serve to convey the idea of an enlightened being who embodies the attributes of an all pervasive, all consuming, unwavering loving compassion and who is accessible to everyone. Quan Yin counsels us by Her actions to cultivate within ourselves those particular refined qualities that all beings are said to naturally possess in some vestigial form.

Contemplating the Goddess of Mercy involves little dogma or ritual. The simplicity of this gentle being and Her standards tends to lead Her devotees towards becoming more compassionate and loving themselves. A deep sense of service to all fellow beings naturally follows any devotion to the Goddess.

The name Kuan Shih Yin, as she is often called, means literally "the one who regards, looks on, or hears the sounds of the world." According to legend, Kuan Yin was about to enter heaven but paused on the threshold as the cries of the world reached her ears.

Scholars believe that the Buddhist monk and translator Kumarajiva was the first to refer to the female form of Kuan Yin in his Chinese translation of the Lotus Sutra in 406 A.D. Of the thirty-three appearances of the bodhisattva referred to in his translation, seven are female. (Devoted Chinese and Japanese Buddhists have since come to associate the number thirty-three with Kuan Yin.)

Although Kuan Yin was still being portrayed as a male as late as the tenth century, with the introduction of Tantric Buddhism into China in the eighth century during the T'ang dynasty, the image of the celestial bodhisattva as a beautiful white-robed goddess was predominant and the devotional cult surrounding her became increasingly popular. By the ninth century there was a statue of Kuan Yin in every Buddhist monastery in China.

Despite the controversy over the origins of Kuan Yin as a feminine being, the depiction of a bodhisattva as both 'god' and 'goddess' is not inconsistent with Buddhist doctrine. The scriptures explain that a bodhisattva has the power to embody in any form--male, female, child, even animal-depending on the type of being he is seeking to save. As the Lotus Sutra relates, the bodhisattva Kuan Shih Yin, "by resort to a variety of shapes, travels in the world, conveying the beings to salvation."

The twelfth-century legend of the Buddhist saint Miao Shan, the Chinese princess who lived in about 700 B.C. and is widely believed to have been Kuan Yin, reinforced the image of the bodhisattva as a female. During the twelfth century Buddhist monks settled on P'u-t'o Shan--the sacred island-mountain in the Chusan Archipelago off the coast of Chekiang where Miao Shan is said to have lived for nine years, healing and saving sailors from shipwreck--and devotion to Kuan Yin spread throughout northern China.

This picturesque island became the chief center of worship of the compassionate Saviouress; crowds of pilgrims would journey from the remotest places in China and even from Manchuria, Mongolia and Tibet to attend stately services there. At one time there were more than a hundred temples on the island and over one thousand monks. The lore surrounding P'u-t'o island recounts numerous appearances and miracles performed by Kuan Yin, who, it is believed, reveals herself to the faithful in a certain cave on the island.

In the Pure Land sect of Buddhism, Kuan Yin forms part of a ruling triad that is often depicted in temples and is a popular theme in Buddhist art. In the center is the Buddha of Boundless Light, Amitabha (Chinese, A-mi-t'o Fo; Japanese, Amida). To his right is the bodhisattva of strength or power, Mahasthamaprapta, and to his left is Kuan Yin, personifying his endless mercy.

In Buddhist theology Kuan Yin is sometimes depicted as the captain of the "Bark of Salvation," guiding souls to Amitabha's Western Paradise, or Pure Land--the land of bliss where souls may be reborn to receive continued instruction toward the goal of enlightenment and perfection. The journey to Pure Land is frequently represented in woodcuts showing boats full of Amitabha's followers under Kuan Yin's captainship.

Amitabha, a beloved figure in the eyes of Buddhists desiring to be reborn in his Western Paradise and to obtain freedom from the wheel of rebirth, is said to be, in a mystical or spiritual sense, the father of Kuan Yin. Legends of the Mahayana School recount that Avalokitesvara was 'born' from a ray of white light which Amitabha emitted from his right eye as he was lost in ecstasy.

Thus Avalokitesvara, or Kuan Yin, is regarded as the "reflex" of Amitabha-a further emanation or embodiment of "maha karuna (great compassion), the quality which Amitabha himself embodies in the highest sense. Many figures of Kuan Yin can be identified by the presence of a small image of Amitabha in her crown. It is believed that as the merciful redemptress Kuan Yin expresses Amitabha's compassion in a more direct and personal way and prayers to her are answered more quickly.

The iconography of Kuan Yin depicts her in many forms, each one revealing a unique aspect of her merciful presence. As the sublime Goddess of Mercy whose beauty, grace and compassion have come to represent the ideal of womanhood in the East, she is frequently portrayed as a slender woman in flowing white robes who carries in her left hand a white lotus, symbol of purity. Ornaments may adorn her form, symbolizing her attainment as a bodhisattva, or she may be pictured without them as a sign of her great virtue.

Kuan Yin's presence is widespread through her images as the "bestower of children" which are found in homes and temples. A great white veil covers her entire form and she may be seated on a lotus. She is often portrayed with a child in her arms, near her feet, or on her knees, or with several children about her. In this role, she is also referred to as the "white-robed honored one." Sometimes to her right and left are her two attendants, Shan-ts'ai Tung-tsi, the "young man of excellent capacities," and Lung-wang Nu, the "daughter of the Dragon-king."

Kuan Yin is also known as patron bodhisattva of P'u-t'o Shan, mistress of the Southern Sea and patroness of fishermen. As such she is shown crossing the sea seated or standing on a lotus or with her feet on the head of a dragon.

Like Avalokitesvara she is also depicted with a thousand arms and varying numbers of eyes, hands and heads, sometimes with an eye in the palm of each hand, and is commonly called "the thousand-arms, thousand-eyes" bodhisattva. In this form she represents the omnipresent mother, looking in all directions simultaneously, sensing the afflictions of humanity and extending her many arms to alleviate them with infinite expressions of her mercy.

Symbols characteristically associated with Kuan Yin are a willow branch, with which she sprinkles the divine nectar of life; a precious vase symbolizing the nectar of compassion and wisdom, the hallmarks of a bodhisattva; a dove, representing fecundity; a book or scroll of prayers which she holds in her hand, representing the dharma (teaching) of the Buddha or the sutra (Buddhist text) which Miao Shan is said to have constantly recited; and a rosary adorning her neck with which she calls upon the Buddhas for succor.

Images of Avalokitesvara often show him holding a rosary; descriptions of his birth say he was born with a white crystal rosary in his right hand and a white lotus in his left. It is taught that the beads represent all living beings and the turning of the beads symbolizes that Avalokitesvara is leading them out of their state of misery and repeated rounds of rebirth into nirvana.

Today Kuan Yin is worshipped by Taoists as well as Buddhists--especially in Taiwan, Japan, Korea and once again in her homeland of China, where the practice of Buddhism had been suppressed during the Cultural Revolution (1966-69). She is the protectress of women, sailors, merchants, craftsmen, and those under criminal prosecution, and is invoked particularly by those desiring progeny. Beloved as a mother figure and divine mediatrix who is very close to the daily affairs of her devotees, Kuan Yin's role as Buddhist Madonna has been compared to that of Mary the mother of Jesus in the West.

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Karma and Soulmates

Soulmate (or soul mate) is a term sometimes used to designate someone with whom one has a feeling of deep and natural affinity, friendship, love, intimacy, sexuality, and/or compatibility.

Soul lovers - someone you love, and would do anything for, and someone who loves you, and would do anything for you. And in that love, nothing is required for either person, because everything is already given. You love them more than anything in the world and could not live without them.

Soul sister/brother - Someone belonging in the same soul group as you and therefore having an unusually strong bond and likeness to you

Classical – Greek mythology – Originally humans were combined of four arms, four legs, and a single head made of two faces, but Zeus feared their power and split them all in half, condemning them to spending their lives searching for the other half to complete them. This theory was presented as a half-serious story by Aristophanes in Plato's Symposium, after all the participants at the Symposium ("drinking party") were charged to philosophize on the topic of love.

Spiritual and religious – Concepts of reincarnation and karma. Soulmates have spent many previous lifetimes together.

Karmic soulmate – Someone who has a special mission or influence on one's life

Companion soulmate – People with whom one has made a connection

Twin soulmates – Very close friends with whom one has strong bonds.

Twin flame soulmate – A popular romantic belief that there is only one true soulmate.

Scientific soulmate – (If) a relationship can be quantified, and scored according to an internal happiness scale. A scientific soulmate is the person with whom you are the absolute happiest. You would therefore be less happy with any other person in existence.

Balance partners and messengers – The people you meet along the way who help you create balance in your life.

Divine complement – A new colloquialism for a 'match made in heaven', a twin soul, who holds inborn potentials that match and complement one's own and who is linked eternally through a signature in the heart at the dimension of the spirit.

Plato wrote in his Symposium that humans have been looking for their soul mate ever since Zeus cut them in half. In his mythic story, Plato describes a world where there were men, women and people who were both men and women. Apparently, humans began discussing how they could climb up to heaven and replace the gods. The gods were upset by this and discussed what should be done. The simplest solution would be to destroy mankind, but Zeus came up with a better idea. He suggested cutting all human beings in half. This would serve two purposes. First, it would immediately double the number of people making offerings to the gods. Second, it would weaken the humans, so they would not be able to carry out their plan. Zeus' idea was accepted, and the humans were all divided into two. Naturally, the humans were upset at this, and Zeus decided to enable each half to have intercourse with their opposite, symbolically creating a whole. Consequently, the males sought their female half, and the females sought their male half, allowing them to reproduce.

Some followers of the New Age religion believe that souls are literally made and/or fated to be the mates of each other, or to play certain other important roles in each other's lives. Following this concept, one can have many soulmates. For example: One could see another person they have never met in this lifetime and instantly hate or love them because of previous interaction(s) with the other in one or more previous lifetimes. The most popular use of this concept is the idea that devoted lovers may reincarnate together.

Also, being conscious of the "soul mate connection" is not necessary, according to this idea.

According to theories popularized by Theosophy and in a modified form by Edgar Cayce, God created androgynous souls, equally male and female. The souls split into separate genders later, perhaps because they incurred karma while playing around on the earth, or "separation from God". Over countless reincarnations, each half seeks the other. When all karmic debt is purged, the two will fuse back together and return to the ultimate.

If you are seeking your soul mate, maybe you can find him or her at the Buddhist Matrimonial Network.

Chinese Astrology and Buddhism

As sometimes happens with historical developments, several versions of the origin of the Chinese Zodiac exist. This is to be expected, especially when you consider that the Chinese Zodiac was established thousands of years ago. Most stories do seem to agree on one thing: the animals that make up the signs, or the 12 equal parts of the Chinese Zodiac, were the animals that appeared in response to an invitation. As a reward for appearing, these 12 animals were included on the Chinese Zodiac. As interesting as the story of the animals is, there’s much more to the origin of the Chinese Zodiac than that.

Whether it was Buddha inviting the animals to celebrate his departure from this world or whether it was the Jade Emperor who invited the animals to attend a birthday celebration is one difference you’ll uncover when researching the origin of the Chinese Zodiac. Another difference is the invitation itself. Some myths state that all animals were invited to a feast. Other stories mention that the animals were invited to participate in a race and as a reward for crossing the finish line the first 12 animals would appear on the Chinese Zodiac. Their order would correspond with the order that each crossed the finish line.

The first to cross the finish line was the rat, followed by the ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and finally, the pig. Interestingly, you’ll find that most discussion of the origin of the Chinese Zodiac tends to focus on the order of the appearance of these animals. Perhaps this is because the story is easier to understand and much more entertaining than learning about the various physical and celestial elements that led to the creation of Chinese numbering systems.

Although Buddha is a main character in the stories about the origin of the Chinese Zodiac, there is evidence that the Chinese Zodiac predates the era of Buddhism. The 12 earthly branches, which is a system devised by early Chinese astronomers for reckoning time, existed long before Buddhism was established. These astronomers closely monitored the orbit of the planet Jupiter which they referred to as the “Year Star.” After extensive study, they realized that Jupiter’s orbit occurred every 12 years. That’s probably why the Chinese Zodiac is based on a system of years, not months.

Other evidence that the origin of the Chinese Zodiac predates Buddhism is use of the 10 heavenly stems. This is an early cycle numbering system developed and used during the Shang Dynasty (1600 BC – 1027 BC). The 10 heavenly stems system is based on the belief that 10 heavenly suns each appeared in 10-day cycles. Each cycle was given a name and the names were supposedly based on the clans that made up the ruling class at that time.

Regardless of the origin of the Chinese Zodiac, its future as a fun and effective method of determining one’s destiny is likely to live on for years!