These paintings in Korean temples are rarely beautiful, but they surely deserve careful study by competent art students. The colors used are bright and light. Faces of Buddhas and Bodhisattvas are usually yellow or white. These high beings are regularly represented with aureoles, the boat-shaped aureole occurring commonly with Kwannon and Miroku. Gods and human beings occur in crowds in these paintings, but no matter how crowded the composition the individuals are usually definite and known. The artists are priests and it is common for the few who have famous skill to travel from temple to temple, touching up old pictures and painting new ones. They stay for weeks or months and then pass on to new fields. The designs are certainly traditional and very old, but the paintings themselves, as we see them in the temple, are many of them the work of very recent years. Most of the monks and acolytes know very little of the meaning of the pictures, but those who paint them, and those who are serious students can identify the actors in the scenes depicted. We reproduce a picture from Sukwang-sa which illustrates the crowding of persons and the attention given to detail. Upon it there are represented one Pul or Buddha, with three faces, four Posal or Bodhisattvas, the twenty-eight heavenly kings (each corresponding to one of the ancient constellations), and ten times ten gods (they are actually grouped by tens and there are ten each of earth, fire, water, small water bodies, air, the human body, movement, field work and mountain fortresses). This design is really a common one, and we have a photograph of it also from Pawpchu-sa. Comparison of the two pictures shows absolute identity in the number and placing of the individuals. (Plate XXXII.) [Illustration: PLATE XXXVI Great painting, Pawpchu-sa [Page 96]] [Illustration: PLATE XXXVII Great painting displayed at Buddha’s Birthday Ceremony: Tongdo-sa [Page 96]] We have already stated that there is considerable variation in the picture of the god of the mountain, though he is always recognizable by certain features. Pictures of individual Rakan are common in temples and these pictures are always precise and definite, giving in every instance the characteristic features or attributes. (Plate XXXV.) Occasionally—perhaps more commonly than we know—the monasteries possess an enormous rolled painting of a single Buddha. We have seen one at Pawpchu-sa and another at Tongdo-sa. At Pawpchu-sa they brought it out from the great temple and unrolled it for us, in the open, that we might see its size. At Tongdo-sa it was already elevated for the occasion of the celebration of Buddha’s birthday. It towered above the highest building, and was worshipped by the crowding thousands. (Plates XXXVI, XXXVII.)