Since its introduction to China in the first century A.D., Buddhism has gradually developed into an important part of Chinese culture and religion. In the process, Buddhism has continuously combined with local culture, detached itself from the original teachings, and localized to form new content. Among them, Guanyin worship has a critical status in China, not only as a part of Buddhist beliefs but also deeply integrated into Chinese culture and folklore. Guanyin, also known as Avalokitesvara, is worshiped and admired by the Chinese for salvation and compassion. Water-Moon Guanyin, a specific image of Guanyin, is usually depicted as sitting on a rock or lotus flower with water reflecting the moon beside her, reflecting the purity and transcendence of Guanyin’s image. This paper will explore the origin of the image of Water-Moon Guanyin through the primitive Buddhist scriptures and focuses on the mural paintings of Guanyin in the Yulin Caves and the sculptures of Guanyin in the Nelson-Atkins Museum in the U.S., providing multi-dimensional perspectives. It also makes connections between the Buddhist philosophical thinking behind Water-Moon Guanyin and local Chinese Daoist thinking. It is concluded that the Water-Moon Guanyin was enriched in China as a manifestation of the Sinicization of Buddhism.
