In Buddhism, EkÃÂdaà Âamukha (, , lit. "Eleven-Faced"; Chinese (Traditional): Ã¥ÂÂä¸Âé¢è§Âé³; Simplified: Ã¥ÂÂä¸Âé¢è§Âé³; pinyin: ShÃÂyëmiàn GuÃÂnyën; Japanese: Ã¥ÂÂä¸Âé¢観é³, Jà «ichimen Kannon) is a bodhisattva and a manifestation of Avalokiteà Âvara (known in Chinese as Guanyin), counted as one of six forms of the bodhisattva that represent salvation afforded to beings among the six realms of saá¹ÂsÃÂra. Among these incarnations, EkÃÂdaà Âamukha is believed to save those in the asura realm.
EkÃÂdaà Âamukha is sometimes also referred to as Avalokiteà Âvara of the Universally Shining Great Light (大å Âæ®砧è§Âä¸Âé³; Ch. DàguÃÂng PÃÂzhào GuÃÂnshìyën; Jp. Daikà  Fushà  Kanzeon).
Although usually classified as an Esoteric or Tantric form of the bodhisattva, the eleven-headed (ekÃÂdaà Âamukha) type is thought to be one of the earliest iconographic depictions of Avalokiteà Âvara to develop, predating the emergence of VajrayÃÂna Buddhism. Its exact origin is unclear, though certain authors such as Lokesh Chandra have associated it with the eleven Rudras of Vedic and Hindu mythology. It is known that certain aspects of the Hindu god Shiva (Rudra) and elements of Shaivism both influenced and were incorporated into Buddhism, playing a role in the development of Avalokiteà Âvara's cult.
A relief carving of the eleven-headed Avalokiteà Âvara in Kanheri (Cave 41), dating from the late 5th to early 6th century, is both the earliest extant example of this iconographic type and the only surviving EkÃÂdaà Âamukha image in India. Artistic depictions of this form are more numerous in East Asia: it is apparently one of the more popular forms of Avalokiteà Âvara in Dunhuang, second only to his thousand-armed or Sahasrabhuja form (itself a derivative of the EkÃÂdaà Âamukha type), judging by the number of paintings of the bodhisattva found there. In Japan, EkÃÂdaà Âamukha also historiclally enjoyed a high degree of popularity, with images of the bodhisattva being installed as the main focus of veneration (honzon) in many temples.
One interpretation of the eleven faces of EkÃÂdaà Âamukha is that it represents both the ten stages (bhà «mis) of the bodhisattva path and buddhahood itself. Another interpretation meanwhile interprets the eleven heads as symbolizing the eleven kinds of ignorance (avidyÃÂ) that plague sentient beings and which the bodhisattva removes.
Certain depictions where EkÃÂdaà Âamukha is shown with a total of twelve heads rather than eleven (i.e. his main head is not counted among the eleven heads) are meanwhile taken to symbolize the twelve links (nidÃÂnas) of dependent origination.
Buddhist lore offers various explanations as to how Avalokiteà Âvara obtained eleven heads. One story relates that Avalokiteà Âvara's head and arms once split into pieces when he discovered the extent of wickedness and suffering in the world and was overcome with grief as a result. The buddha AmitÃÂbha, seeing Avalokiteà Âvara's plight, restored him by giving him eleven heads and a thousand arms with which to aid sentient beings. In another story, Avalokiteà Âvara is said to have assumed this eleven-headed form to subdue and convert a prideful ten-headed rakshasa demon.
EkÃÂdaà Âamukha is closely associated with the elephant-headed deva VinÃÂyaka, the Buddhist analogue to the Hindu deity Ganesha. Certain stories relate that VinÃÂyaka was originally a malevolent demon king who ruled over a horde of obstructive demons called vinÃÂyakas. He was eventually tamed by Avalokiteà Âvara, who assumed the form of an elephant-headed female demoness and embraced him, thereby causing him to achieve great bliss and abandon his evil ways. These legends serve as the origin myth for the 'Dual-Bodied' image of VinÃÂyaka, which shows two elephant-headed figures (interpreted as VinÃÂyaka and his consort, the incarnation of the eleven-headed Avalokiteà Âvara) embracing each other.
As noted above, EkÃÂdaà Âamukha may be depicted with either eleven or twelve (i.e. the main head is not counted) heads.
Of the eleven faces, three wear a benevolent, serene expression characteristic of depictions of bodhisattvas, three sport a wrathful countenance, three are grinning with fangs protruding upward from their mouths, one is laughing boisterously, whilst the final, topmost head is that of a buddha, sporting a calm demeanor and a head knob (uá¹£á¹Âëṣa).
The bëjàor seed syllable used to symbolically represent EkÃÂdaà Âamukha is (Siddhaá¹Â: ; Devanagari: à ¤Â; traditionally read in Japanese as kya).
Several mantras and dhÃÂraá¹Âës are associated with the bodhisattva. The two mantras commonly employed in the Japanese tradition are the following: