or demons, beasts, and beings in hell. In portraying these, the artists
and sculptors do not always slavishly follow tradition or uniformity.
The critical eye notes nearly as much genius, wit and variety as in the
mediaeval cathedral architecture of Europe. Probably the most popular
groups of idols are those of the seven or the thirty-three Kuannon, of
the six Jizo[31] or compassionate helpers, and of the sixteen or the
five hundred Rakan[32] or circles of primitive disciples of Gautama. The
angelic beings and sweetly singing birds of Paradise are also favorite
subjects of the artists.

One who has lived alongside the great temples; who knows the daily
routine and sees what powerful engines of popular instruction they are;
who has been present at the great festivals and looked upon the mighty
kitchens and refectories in operation; and who has gone in and out among
their monasteries and examined their records, their genealogies and
their relics, can see how powerfully Buddhism has moulded the whole life
of the people through long ages. The village temple is often the epitome
and repository of the social life of the people now living, and of the
story of their ancestors for generations upon generations past. It is
the historico-genealogical society, the museum, the repository of
documents and trophies, the place of national thanksgiving and praise,
of public sorrow and farewell, a place of rendezvous and separation, the
starting-point of procession, and the centre of festival and joy; and
thus it is linked with the life of the people.

In other respects, also, the temple is like the old village cathedral of
mediaeval Europe. It is in many sects the centre of popular pleasure of
all sorts, both reputable and disreputable. Not only shops and bazaars,
fairs and markets, games and sports, cluster around it, but also
curiosities and works of popular art, the relics of war, and the