51 ff. thinks they are not earlier than the fifth century.]

[Footnote 32: See especially Foucher, _Iconographie Bouddhique_,
Paris, 1900.]

[Footnote 33: See especially de Blonay, _Études pour servir à
l'histoire de la déesse bouddhique Târâ_, Paris, 1895. Târâ continued
to be worshipped as a Hindu goddess after Buddhism had disappeared and
several works were written in her honour. See Raj. Mitra, _Search for
Sk. MSS_. IV. 168, 171, X. 67.]

[Footnote 34: About the time of Hsüan Chuang's travels Sarvajñâmitra
wrote a hymn to Târâ which has been preserved and published by de
Blonay, 1894.]

[Footnote 35: Chinese Buddhists say Târâ and Kuan-Yin are the same but
the difference between them is this. Târâ is an Indian and Lamaist
goddess _associated_ with Avalokita and in origin analogous to the
Saktis of Tantrism. Kuan-yin is a female form of Avalokita who can
assume all shapes. The original Kuan-yin was a male deity: male
Kuan-yins are not unknown in China and are said to be the rule in
Korea. But Târâ and Kuan-yin may justly be described as the same in so
far as they are attempts to embody the idea of divine pity in a
Madonna.]

[Footnote 36: But many scholars think that the formula Om manipadme
hum, which is supposed to be addressed to Avalokita, is really an
invocation to a form of Śakti called Maṇipadmâ. A Nepalese
inscription says that "The Śâktas call him Śakti" (_E.R.E._ vol. II.
p. 260 and _J.A._ IX. 192), but this may be merely a way of saying