Shikoku 33 Kannon Pilgrimage

     Shikoku 33 Kannon Pilgrimage was newly organized in 1990, at first to prevent senility.  As their understanding over senility matured, they came to openly discuss and try to contribute to the mental problems senior citizens face.

     In 1999, each of the 33 temples brought in a Kannon statue with one of the 33 manifestations of Avalokitesvara which had been arranged by Tosa Hidenobu (?-?).  Accordingly, the visitors can see all the 33 manifestations, in stead of usual “six types” of them, by accomplishing the pilgrimage.

     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.