North Kawachi 33 Kannon Pilgrimage

１番　光明院　倉治 ２番　一乗寺　枚方 ３番　浄念寺　枚方 ４番　正光寺　磯島 ５番　浄蓮寺　禁野 ６番　白雲寺　渚　枚方 ７番　西方寺　中宮　枚方 ８番　明遍寺　郡津 ９番　清伝寺　渚 １０番　円通寺　津田 １１番　明尾寺　藤阪 １２番　正念寺　招提 １３番　称念寺　長尾 １４番　西方寺　杉　枚方 １５番　来雲寺　尊延寺 １６番　想善寺　私部 １７番　光通寺　私部　交野 １８番　正法寺　中野 １９番　西雲寺　渚 ２０番　松宝寺　私市　交野 ２１番　雲林寺　私市　交野 ２２番　光明寺　星田　交野 ２３番　慈光寺　星田 ２４番　光林寺　星田　交野 ２５番　金龍寺　茄子作　枚方 ２６番　本誓寺　茄子作　枚方 ２７番　西蓮寺　寝屋　寝屋川 ２８番　大正寺　岡山 ２９番　明光寺　村山　寝屋川 ３０番　正縁寺　国守　寝屋川 ３１番　正円寺　清滝 ３２番　弥勒寺　南野 ３３番　大念寺　堀溝

Another 33 Kannon in Japan

Tosa Hidenobu published Butsuzo-zui (Illustrated Compendium of Buddhist Images) in 1783.  In the compendium, he listed 33 popular subjects of Buddhism Avalokitesvara drawings and paintings: #1 Holding-Willow-Spray Avalokitesvar, #2 Naga Avalokitesvar, #3 Holding-Buddhism-Scripture Avalokitesvar, #4 Halo Avalokitesvar, #5 Sitting-on-Cloud Avalokitesvar, #6 Pandara Vasini Avalokitesvar, #7 Sitting-on-Lotus-Leaf Avalokitesvar, #8 Looking-at-Cascade Avalokitesvar, #9 Listening-to-Stream Avalokitesvar, #10 Holding-Fish-Cage Avalokitesvar, #11 Brahman (Virtuous-Lord) Avalokitesvar, #12 Looking-at-Reflected-Moon Avalokitesvar, #13 Sitting-on-Leaf Avalokitesvar, #14 Blue-Head Avalokitesvar, #15 Great-Commander Avalokitesvar, #16 Life-Prolonging Avalokitesvar, #17 Relief-from-Ruination Avalokitesvar, #18 In-Cave-with-Venom Avalokitesvar, #19 Wave-Reduction Avalokitesvar, #20 Anavatapta Avalokitesvar, #21 One-Knee-Drawn-Up Avalokitesvar, #22 Leaf-Robe Avalokitesvar, #23 Holding-Lapis-Lazuli-Censer Avalokitesvar, #24 Tara Avalokitesvar, #25 Sit-in-in-Clam Avalokitesvar, #26 Twenty-Four-Hour Avalokitesvar, #27 Universal-Benevolence Avalokitesvar, #28 Celestial Beauty Avalokitesvar, #29 Brahmani Avalokitesvar, who put palms together, #30 Controlling-Thunderbolt Avalokitesvar, #31 Peaceful-Vajrapani Avalokitesvar, #32 Holding-Lotus-Flower Avalokitesvar, and #33 Sprinkling-Purified-Water Avalokitesvar.  Some subjects came directly from the Lotus Supra Chapter XXV, some were based on folklore in China, and others had been created in Japan.  He put stronger emphasis on the number 33, and might have ramified a couple of subjects to increase the number to 33.  He also might have considered the 33 subjects to be artistically more meaningful manifestations of Avalokitesvara than those from the Lotus Sutra, at least in Japan.