In this painting, Kannon (Avalokiteśvara) wearing a white garment over the head is seated on a rock. This composition, however, is not included in any Buddhist scripture, and it does not belong to the iconographic type of "Byakue Kannon" (Pāṇḍaravāsinī) introduced in the Rengebu-in or the lotus section of the Taizō-kai (Garbhadhātu or womb) Mandala. The orthodox type of "Kannon in a White Garment" is, as is seen in the Taizō-kai Mandala, usually presented in front of a big old tree on a steep mountain with deep valleys. But the type of Kannon introduced in this article which is different from the orthodox type, was probably established during the Tang dynasty in China without any reference to Buddhist texts. The grasses on the rock are depicted with sharp brush strokes. On the left side of Kannon a willow branch in a vase is placed within a crystal bowl, and slender bamboo stalks are described behind it. The outline of Kannon's body and drapes are both drawn in ink with sharp brush strokes which indicate the skillful drawing technique of the artist. The interesting aspect about this painting is that the artist described Kannon with an air of the familiar human being. The painting is rendered in a craftsman-like skillful painting technique. Since the painting style of this picture differed from Chinese and Japanese styles, it is very likely that it was made in Korea during the Koryo dynasty. The inscription is about the virtue of Kannon. The inscription writer by the name of Kaika has not been identified. The date written in the inscription is 1377. 
Masterpieces of Nara National Museum. Nara National Museum, 1993, p.39, no.24. 

The White-Robed Kannon (Ch. Baiyi Guanyin; K. Baeg-ui Gwaneum) is facing forward in this painting while seated in a relaxed posture on a pile of grass in a rocky area. The place depicted is Mount Potalaka, Kannon’s dwelling in the south. Kannon is wrapped in a white robe that also covers the head. This iconography was first seen in China, with many depictions produced during the Song dynasty (960–1279). Several images of the White-Robed Kannon came to be produced in Korea and Japan as well, as faith in the bodhisattva spread.
This painting differs somewhat from most others produced between the Song and the Yuan (1271–1368) dynasties in China and the Kamakura (1185–1333) and Muromachi periods (1392–1573) in Japan. The facial features and robe style are unusual: The figure has up-angled eyes and eyebrows and an under-robe (Skt. saṃkakṣikā ) wrapped to cover the upper part of the chest. Mount Potalaka’s scenery has deviations as well, like daimyo oak leaves visible on the tree to the side. Some changes are variations on standard elements seen in other works, suggesting this painting was made with intentional deviations after the standard iconography for the White-Robed Kannon on Mount Potalaka had been established.
Owing to these unique features, the painting has long been thought to have been produced in Korea during the Goryeo dynasty (918–1392), but evidence to support this assertion has not been easy to find. Some scholars have suggested it could have been produced in the late Yuan or early Ming (1368–1644) dynasty in China, due to similarities seen in the depiction of the surrounding scenery.
The ink inscription in the viewer’s upper right extols Kannon’s merits. Details about the author of the inscription (海燁 possibly read as Haiye or Haehyeop) are not known, but the painting style has allowed scholars to identify the Chinese zodiacal year Fire Snake as referring to Hongwu 10 (1377). 
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