CHINESE ARCHITECTURE. G87 



jewels of the law and the revolving wheel with which it is crowned. 

 kSpecnlative symbolism of this kind is carried ont in the form of the 

 pagoda. The base, four-55ided< represents the abode of the four ma- 

 harajas, the great guardian kings of the four quarters, whose figures 

 are seen enthroned here Avithin the open arches. The center, octa- 

 gonal, represents the Tushita heaven, with eight celestial gods, Indra. 

 Agni, and the rest, standing outside as protectors of the eight points 

 of the compass; this is the paradise of the Bodhisats prior to their 

 Hnal descent to the human world as Buddhas, and Maitre,ya, the com- 

 ing Buddha, dwells here. The upper story, circular in form, repre- 

 sents the highest heaven, in which the Buddhas reside after attaining 

 complete enlightenment ; the figures in niches are the five celestial 

 Buddhas, or Jinas, seated on lotus pedestals. 



The ordinary pagoda of 13 stories, octagonal in section, solidly 

 l)uilt of brick u])on massive stone foundations, is seen in plate xii. 

 This one, which dates from the end of the seventh century, is attached 

 to the temple of Ling-kuang Ssii, in the western hills near Peking, 

 and it is plainly visible from the top of the city wall 12 miles distant. 

 It is not certain, however, whether it be still standing, as it was unfor- 

 tunately condemned to l>e blown up by dynamite in 1900, because the 

 Boxers had nuide this temple their headquarters. The Buddhist 

 monks have always chosen the most picturesque spots for their mon- 

 asteries, and there are no less than eight temples on the slope of this 

 jxirticular hill, which is about 800 feet high, and many more in the 

 vicinity. Some have imperial traveling palaces, called Hsing Kung, 

 in adjoining courts; all have guest rooms, k'o fang, as part of the 

 original plan for the entertainment of strangers and passing pilgrims. 



The general plan of a Buddhist temple resembles that of a secular 

 residence, consisting of a series of rectangular courts, proceeding 

 from south to north, with the principal edifice in the center and the 

 lesser buildings at the sides. A pair of carved stone lions guard the 

 entrai!(;e, flanked by lofty twin columns of wood which are mounted 

 with banners and lanterns on high days and holidays. The gateway 

 is large and roofed to form a vestibule, in which are ranged, on either 

 side, gigantic figures of the four great kings of the devas, Ssii ta 

 tien wang, guarding the four quarters; while in the middle are gen- 

 erally enshrined small effigies of Maitreya, the Buddhist Messiah, 

 conceived as an obese Chinaman with protruberant belly and smiling 

 features, and of Kuan Ti, the state god of war, a deified warrior, 

 represented as a mailed figure in the costume of the ITan period, 

 seated in a chair. 



Passing through the vestibule, one sees on either side of the fi.rst 

 court a pair of square pavilions containing a bronze bell and a huge 

 wooden drum, and in front the main hall of the temple, called Ta 



