Looking at the arrangements of these two parts of a Buddhist temple from another point of view, the large central hall already described is intended to symbolise Buddha giving his instructions to an assembly of disciples, while the leading idea of the entering hall is the representation of the powerful protection by celestial beings enjoyed by the Buddhist religion and its professors. In some large temples, Wei-to, and a king of the Devas, holding a pagoda in his hand, stand with the usual figures on the right and left of Shakyamuni. Twenty Devas, ten on each side, are also sometimes placed at the south end of the two rows of Arhans that line the eastern and western walls. This accords with the descriptions given in the Sutras of the audience gathered round Buddha on remarkable occasions, when the inhabitants of the various celestial mansions hold a conspicuous position among the crowd of his disciples. The carrying out of this thought is doubtless the prevailing aim in the choice of personages, attitudes, dress, and positions, and all is in agreement with the "Developed" Sutras or those of the Mahayana class used by the Northern Buddhists.

Exceptions to this rule occur. For example, figures illustrating the thirty-two points of personal beauty belonging to Buddha are in some temples placed where the Arhans are usually found. So also, in large temples, instead of the two disciples on each side of Julai, are two other figures of Buddha, representing the future and the past, as the central one does the present. The three images are much alike, and each of them wears the close-fitting skull-cap of painted shells which is always appropriated to Buddha.

Facts of this latter class point to another aim as influencing the arrangement of the figures, that of presenting to the mind of the visitor a picture of the conception of Buddha, in its most expanded form, each image exhibiting a distinct feature of the ideal whole to the contemplation of the worshipper. This principle of arrangement is, however, followed much less frequently than the former.

The idea of celestial protection as prevailing in the arrangement of the entering hall, has already been illustrated in the description of the Four kings and of Wei-to. It may be further observed, that the beings called K'ia-lan (Ga-lam) or protectors of the "monasteries" (sangarama), viz., Kwan-ti, the god of war, and others, are placed here in vacant spaces, as in a suitable spot.

The other "chapels" (tien) or halls are erected on the side of or behind the central structure. They are appropriated to Yo-shi Fo, O-mi-to Fo, Ti-tsang p'u-sa, and the ten kings of hell. Other names occur, such as the hall of the thousand Buddhas, &c., but these are the most common.