After the singing the assembled Bhikshus exclaim Subhâshita or Sâdhu, that is well-said or bravo. The reader descends and the Bhikshus in order salute the lion-seat, the seats of Bodhisattvas and Arhats, and the superior of the monastery."[260] I-Ching also tells us of the ceremonial bathing of images and prefaces his description by the remark that "the meaning of the Truths is so profound that it is a matter beyond the comprehension of vulgar minds while the ablution of the holy images is practicable for all. Though the Great Teacher has entered Nirvana yet his image exists and we should worship it with zeal as though in his presence. Those who constantly offer incense and flowers to it are enabled to purify their thoughts and those who perpetually bathe his image are enabled to overcome the sins that involve them in darkness."[261] He appears to contemplate chiefly the veneration of images of Sâkyamuni but figures of Bodhisattvas were also conspicuous features in temples, as we know not only from archæology but from the biography of Hsüan Chuang, where it is said that worshippers used to throw flowers and silk scarves at the image of Avalokita and draw auguries from the way they fell. Monasteries were liberally decorated with statues, carvings and pictures.[262] They often comprised several courts and temples. Hsüan Chuang says that a monastery in Magadha which he calls Ti-lo-shi-ka had "four courts with three storeyed halls, lofty terraces and a succession of open passages.... At the head of the road through the middle gate were three temples with disks on the roof and hung with small bells; the bases were surrounded by balustrades, and doors, windows, beams, walls, and stairs were ornamented with gilt work in relief." In the three temples were large images representing the Buddha, Târâ and Avalokita.