The Universal Gateway Chapter on Bodhisattva Avalokiteśvara

These two manuscripts of the "Universal Gateway Chapter" share a similar layout. They are folded manuscripts, with each page typically folded into ten half-leaves. At the beginning of each volume is a frontispiece depicting "The Buddha Preaching," with the Buddha seated on a pedestal, facing slightly right (towards the left side of the illustration), surrounded by the Four Assemblies, bodhisattvas, and the heavenly dragon retinue. One bodhisattva kneels in front of the Buddha's pedestal, likely representing the Bodhisattva Infinite Intent, who poses questions (when necessary) in this chapter. Following the frontispiece is a four-line rhyming verse praising the clarity and tranquility of the universe and the harmony of governance, dated "7th day of the 4th month of 1422." Next comes the scripture, with five lines per half-leaf and fifteen characters per line, accompanied by illustrations in a right-text, left-image format, totaling around 40 illustrations. After the scripture, there is a section with Xuanzang's (602-664) translation of the "Heart Sutra," and finally, there is a trailing illustration of "Vaiśravaṇa." The writing of the scriptures follows the calligraphic style of the early Ming calligrapher Shen Du (1357-1434), characterized by a gentle and elegant demeanor. The illustrations, based on the same draft, also exhibit a high level of quality and similarity. The main differences between the two volumes are the material of the covers—one is wooden clips, and the other is woven brocade. Additionally, one volume (Exhibit 29, item number 故佛000392) includes a praise for the "Universal Gateway Chapter" at the end of the Heart Sutra, while the other volume does not. According to the scripture, it can be roughly divided into three main sections: The first section depicts Avalokitesvara hearing the cries of suffering beings and fulfilling their wishes for sons and daughters. It illustrates Avalokitesvara saving beings from seven calamities such as fire, water, dark wind spirits, weapons, night spirits, chains, and bandits, along with requests for sons and daughters, totaling eight illustrations. Above each illustration are various manifestations of Avalokitesvara, while below are beings encountering different disasters and calling upon Avalokitesvara for help, including parents kneeling in request with their children. The second section shows Avalokitesvara appearing in various forms to respond to the needs of Buddhas, hearers of the Dharma, celestial beings, rulers, Brahmins, the Four Assemblies, and women, among others, totaling nineteen illustrations. Below each illustration are scenes of Avalokitesvara's manifestations in the world, with each manifestation accompanied by an image of Avalokitesvara as the "main deity" above. The third section consists of verses that expand upon the initial seven calamities to twelve, illustrating Avalokitesvara saving beings from these twelve calamities in twelve illustrations. Avalokitesvara is depicted above each scene, interacting with the beings in distress in various ways compared to the first section, showing more dynamic interactions and gestures.The National Library of China in Beijing holds a copy of the "Guanyin Pumen Pin" published by Shafuzhi in Ying Tianfu (Nanjing), which is very similar to the two copies in the collection. The dating of this copy is from the earlier Hongwu era of the Ming Dynasty, specifically 1395. It can be considered the prototype for the two copies in the collection. Many of the themes and artistic compositions can be traced back to the Song Dynasty. Comparing the "Fire Calamity," "Pushing off the Cliff Calamity," "Poison Calamity," and others from the Xuande edition with the Song edition of Volume Seven [Exhibit 21], their connection becomes apparent. (Chung Tzu-yin)