This article explores the transformation of the iconography of the eight heavenly commanders — each representing a distinct class of mythological beings — originating from Sanskrit sources, and how it was adapted in the Far East, culminating in the 734 CE sculpture ensemble at the Kofukuji Temple in Nara. The “Eight Legions” is a collection of individual statues that are thematically, iconographically, and stylistically interconnected. The composition of these figures draws upon sutra texts that were widely studied in temples and monasteries. In similar sculptural groups common in medieval Japanese Buddhist art, the even number of fi gures typically serves a protective function, standing before, accompanying, or symbolically guarding a central fi gure or teaching. In the case of the “Eight Legions”, the heavenly commanders turn to protect and uphold the Buddha’s teachings. This ensemble represents one of the earliest instances of a multi-figure group in Japanese Buddhist sculpture, a tradition that was prominent in the art of the Far East. The article traces the evolution of the eight heavenly commanders in both Chinese and Japanese contexts, highlighting how their names became more individualized over time. While the sculptures at Kofukuji maintain a unified stylistic approach, there is also an emphasis on creating distinct individual figures. Th ese statues differ in characteristics such as age, the presence or absence of facial hair, hairstyle, features and shape of the face. Each sculpture is equipped with recognizable iconographic attributes, applied in a consistent manner. Notably, zoomorphic and chimeric elements are concentrated on the heads and shoulders of the figures, in contrast to the original ancient Indian mythological depictions. Additionally, the depiction of animal mascarons suggests an influence from the aesthetics of Gigaku, the masked, theatrical Buddhist performances. In summary, the “Eight Legions” group represents an outstanding artistic phenomenon, where a complex canon — rooted in Buddhist textual sources and enriched with motifs from indigenous Far Eastern religions and folk traditions — was brought to life through diverse and inventive interpretations.