The article examines the sources, religious context and artistic features of the iconography of the “Welcoming Descent of Buddha Amida” in Japanese sculpture from the Heian (794–1185) and early Kamakura (1185–1333) periods. An attempt is made to understand from which elements of textual and visual cultures the iconography of the “Welcoming Descent of Buddha Amida” is formed in sculpture. This question has not been specifically studied. The formation of the iconography in both painting and sculpture was influenced by the doctrinal texts of the sutras not per se, but rather in the interpretation of Chinese and Japanese teachers, especially Genshin. Apart from the textual sources, the visual experience was also important. The expressiveness of the cloud on which Buddha and bodhisattvas fly in painting seems to have led sculptors to try to embody it in wood as well. Apparently, the authority of the pre-existing iconography of Buddha Amida of the Tendai school somewhat inhibited changes in the main figure. Perhaps the need to attach a rope to the hands or arms of the statue contributed to the appearance of a specific welcoming gesture (the index finger and thumb are linked “in a ring”). Both in painting and sculpture bodhisattvas next to Buddha Amida acquired expressive poses and attributes, that invite a viewer to experience the miraculous appearance of higher powers. The next (after Genshin) most important preacher of the belief in Buddha Amida, Honen, emphasized that Buddha should be depicted standing, which signifies his readiness to help. It was the most widespread type in the 13th century. The significant role was played by sculptor Kaikei, whose first Amida triad was based on Chinese scroll. Later he created a number of free-standing figures of Amida and triads that became classic and were reproduced for many generations.