The origin of Guanyin Bodhisattva is confusing, and different legends have their own words. One said that Guanyin was the son of Amitabha Buddha and had a prominent identity; The other is said to be the son of the lotus incarnation, which comes from the legend of the golden lion game Rulai country; There are also Brahmans who believe that Guanyin is a god foal, a pair of cute twin foals.
In Buddhist scriptures, Guanyin was once depicted as a "brave husband" and addressed with the term "good man". In the early days, most of the Guanyin statues were male figures, such as the Yungang Grottoes and the Thousand Buddha Caves in Kizil, Xinjiang. Before the Tang Dynasty, the image of Guanyin was mostly a man, with a resolute face and a solemn posture.
However, with the passage of time, the image of Guanyin gradually evolved. During the Wei, Jin, Southern and Northern Dynasties, although the stories that circulated emphasized the divine power of Guanyin, it was more likely to show people with the majesty of men. It was not until the Sui Dynasty that statues of Guanyin with female characteristics began to emerge, but they were still dominated by masculine qualities.
It can be seen from the discovery of the treasure house of Dunhuang art that since the Tang Dynasty, the female character of Guanyin has gradually become dominant. These female goddesses are ornate and colorful, with intricate clothing, but they lack outstanding feminine features. It is worth noting that even the feminine Kannon is often depicted as having a flat upper body that lacks pronounced breasts.
In the middle and late Tang Dynasty, the image of Guanyin gradually tended to be feminine, which was manifested in significant female characteristics. By the Song Dynasty, female Guanyin had become the mainstream. Guanyin's life experience and image have been sinicized, and she has changed from a Buddhist monk to a "princess" of the Han family, such as Princess Miaoshan, the third daughter of King Miaozhuang. Guanyin's moral concept and way of salvation have gradually been integrated into Chinese culture, and the story of Princess Miaoshan saving her father with her hands and eyes is deeply loved by people.
Guanyin became a Chinese goddess, which triggered the emergence of a large number of metamorphosis Guanyin in Middle-earth, such as Xiangshan Guanyin, Fish Basket Guanyin, and Sending Child Guanyin, etc., enriching the image and meaning of Guanyin.
The evolution of this gender mystery is influenced both by cultural inheritance and by social attitudes. Guanyin's transition from male to female is a process of cultural evolution that reflects the continuous reinterpretation and acceptance of the image of the deity in Chinese society.
Summary. 
The mystery of the gender of Guanyin Bodhisattva contains rich and colorful cultural connotations. From the son of Amitabha Buddha to the son of Lotus incarnation, to the god of Brahmanism, the origin of Guanyin is mysterious. Guanyin once showed people as a "brave husband", and Buddhist scriptures called it a "good man", and the early statues were also dominated by men.
However, as the times evolved, Kannon gradually took on feminine characteristics. After the Tang Dynasty, the female Guanyin gradually occupied a dominant position, and the image tended to be more Chinese. Guanyin's life experience has changed from a Buddhist scholar to a "princess" of the Han family, and the image of Princess Miaoshan is deeply rooted in the hearts of the people. The image of Guanyin is gradually enriched, and the deformation of Guanyin in the Middle Earth emerges in endlessly, giving Guanyin more humanistic meanings.
This process of gender transition is shaped both by cultural heritage and by changing societal attitudes. The mystery of Guanyin's gender is not only a religious topic, but also a comprehensive embodiment of cultural evolution and social cognition. As a Chinese goddess, Guanyin, with its colorful image and rich connotation, has always inspired people to think about faith and culture.
This fascinating essay on the mystery of the gender of Avalokiteshvara provides an in-depth analysis of the transformation of the image of Avalokiteshvara from male to female. The author skillfully connects different legends, quoting Buddhist scriptures and historical and cultural backgrounds, so that readers can clearly understand the diversity of Guanyin's image. In this process, the article takes history as a clue to outline the cultural evolution of the image of Guanyin, so as to make the image of Guanyin, a deity, more three-dimensional and rich in connotation.
First of all, when introducing the origin of Guanyin, the article presents the multifaceted nature of Guanyin based on a variety of legends. This diversity is not only an expression of religious beliefs, but also a product of cultural heritage and historical evolution. Behind the different legends, there is not only reverence for the divinity of Guanyin, but also interpretation of history and culture. This makes the god Guanyin no longer a single image, but a colorful cultural symbol.
Secondly, in describing the evolution of the image of Guanyin, the article cleverly integrates the changes of artistic expression. Through the depiction of the statue of Guanyin, readers can feel the interpretation of the image of Guanyin in different historical periods and cultural regions. From the initial male figure to the gradual appearance of female characteristics, the image of Guanyin is vividly presented in art. This depiction makes it easier for readers to understand the historical evolution of the image of Guanyin, and also provides more intuitive evidence for the cultural evolution of Guanyin.
At the end of the article, the process of Sinicization of Guanyin is profoundly examined, emphasizing the evolution of Guanyin from a Buddhist priest to a "princess" of the Han family. This evolution is not only a change in image, but also a sinicization of Guanyin's salvation method and moral concept. Through the image of Princess Myozen, the third daughter of King Myosho, Kannon is no longer a distant god, but an existence that is closer to the hearts of the people. Such a cultural change made Guanyin the object of Chinese people's belief and led to the unique development of Chinese Guanyin belief.
Overall, this article profoundly explores the mystery of the gender of Guanyin and shows the diversity of Guanyin's image through a combination of legends, historical culture, and artistic expressions. The cultural evolution of Guanyin is not only an expression of religious beliefs, but also the inheritance of history and culture. Through the in-depth interpretation of the image of Guanyin, readers have a more comprehensive understanding of the development of Guanyin belief in China.
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