Note (return) — Chapter X · - JAPANESE BUDDHISM IN ITS MISSIONARY DEVELOPMENT

Turning from text to art, we behold the golden lakes of joy, the mountain of gems, the floating female angels with their marvellous drapery and lovely faces, the gentle benignity of the goddesses of mercy, the rays of light and the glory streaming from face and head of the holy ones, the splendors of costume, the varied beauties of the lotus, the hosts of ministering intelligences, the luxuriant symbolism, the purple clouds, the wheel of the law, the swastika29 or double cross, and the vagra,30 or diamond trefoil. All that color, perfume, sensuous delights, art and luxury can suggest, are here, together with all the various orders of beings that inhabit the Buddhist universe; and these are set forth in their fulness and detail. In the six conditions of sentient existence are devas or gods, men, asuras or monsters, pretas 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 Jizo31 or compassionate helpers, and of the sixteen or the five hundred Rakan32 or circles of primitive disciples of Gautama. The angelic beings and sweetly singing birds of Paradise are also favorite subjects of the artists.