This visually exuberant representation of White-robed Guanyin epitomizes another trajectory of Avalokiteshvara’s Chinese transformation in the Ming dynasty. Sudhana, the parrot, and the purple bamboo grove are all found in indigenous tales of Guanyin at Mount Putuo, a Chinese version of Potalaka; the lotus pond and an icon of Amitabha—or Amituo in Chinese—on Guanyin’s headdress indicate Pure Land Buddhist traditions. Pictorial richness as a sign of auspiciousness characterizes court paintings like this one from the Ming dynasty. We see gestures and costumes from the Chan tradition, but the painting departs dramatically from the simplicity and apparent spontaneity of the more austere White-robed Guanyin on the left. JS