The 10^th-century work on the right demonstrates a more formal, ritualistic, and devotional approach to Guanyin than is seen in the image on the left. The banner—executed in colored inks—depicts the bodhisattva sitting frontally on a lotus throne, dressed in Indic garments and ornaments, an ambrosial vessel in the left hand while the right holds a willow branch. Below, female donors supplicate with joined hands, while the man offers incense. An altar is placed before Guanyin, and celestial beings make additional offerings on both sides. In contrast, the 14^th-century work on the left is a very different depiction of Guanyin, inscribed by a famous official associated with the Chan Buddhist school. This comparison therefore shows the later evolution of the Chinese bodhisattva’s iconography that was adopted by Chan artists and their patrons.