In terms of iconography, Buddhist images of the Hwaeom school produced in the Unified Silla period can be categorized by one of the following: Buddha with bhumisparsa mudra, Buddha with bodhyangi mudra, or Buddha with abhaya and varada mudra. Two representative statues depicting Buddha with bhumisparsa mudra are Seated Buddha in the Muryangsu-jeon at the Buseoksa Temple and Seated Buddha in the Seokguram. Even though the former statue was made in the early Goryeo period, it actually represents the Hwaeom Buddha image of the Unified Silla because it was modeled after a principal image, which was erected by Uisang( 義湘, 625~702) to be placed in a main temple of the Hwaeom school. The production of the central statue of Seokguram might have been inspired by Pyohun and Sillim, monks from the Hwaeom school of the Uisang lineage, as they provided the doctrinal concept for the statue. As seen from this case, I believe that the Hwaeom school of the Uisang lineage, which was the most inf luential during the Unified Silla period, likely made the Buddha with bhumisparsa mudra the principal statue. The bhumisparsa mudra originally symbolizes the enlightenment of Śakyamuni. However, based on Uisang’s view of Hwaeom buddhakāya, this iconography should be considered “dharmakāya” of Avatamsaka Sutra in sixty rolls. This means that it represents not only Śakyamuni but also Amitabha and Vairocana through one body, which becomes “One Vehicle Thought of Hwaeom.” I would also argue that the popularity of the Buddha statue with the bhumisparsa mudra during the Unified Silla was due to the success of the Hwaeom school of Uisang lineage. Therefore, it is highly possible that some Buddha statues with the bhumisparsa mudra from this period were worshipped in the Hwaeom school as a main image. Next, two examples of a Buddha statue with bodhyangi mudra are the stone-carved Vairocana statue from the Seoknamsa Temple and the iron Vairocana statue from the Borimsa Temple. The written record of the Seoknamsa statue identifies the name of the Buddha, which corresponds to the dharmakāya Buddha from Avatamsaka Sutra in eighty rolls. However, even though the hand gesture of the Borimsa is the same as that of the Seoknamsa, the record found from the statue identifies it as “Locana Buddha,” which is the dharmakāya of Avatamsaka Sutra in sixty rolls. From these examples, one can conclude that during the Unified Silla period, there was no clear iconographic differentiation between Locana and Vairocana Buddha. Instead, this gesture might have been understood generally as an iconography for the dharmakāya Buddha of the Hwaeom school. The Buddha statue with bodhyangi mudra first appeared in the middle eighth century and it had become popular in the middle ninth century. However, Avatamsaka Sutra in eighty rolls, which suggests the concept of dharmakāya Vairocana, had already been introduced in the middle eighth century, and the Hwaeom school enjoyed its popularity. However, in the middle of the ninth century, as Chan Buddhism was introduced, the major leading group in the Buddhist world changed. Therefore, judging from the historical perspective on the production period of the Buddha statue with bodhyangi mudra, I believe that the Hwaeom school, both based on Avatamsaka Sutra in eighty rolls and worshipped primarily the Buddha statue with the bodhyangi mudra did not exist. This also leads me to argue that in the Unified Silla period, the traditional Hwaeom thought based on the Avatamsaka Sutra in sixty rolls prevailed. Lastly, an example of a Hwaeom Buddha statue with abhaya and varada mudra is the iron Locana statue from the Samhwasa Temple. This type of statue was produced in neighboring countries: the carved Vairocana Buddha statue from the Fengxiansi Temple, Longmen Caves, during the Tang period or the Great Buddha ( Daibutsu) of the Tōdai-ji, during the Nara period. As seen from these examples, the iconography of the statue with the abhaya and varada mudra was presumably predominant in the East Asian Buddhist world. Both what disciples of Uisang described as the symbolism of the Seal-Diagram Symbolizing the Dharma Realm as the One Vehicle (一乘法界圖) in Comprehensive Record on the Seal-Diagram Symbolizing the Dharma Realm (法界圖記叢髓錄) and the iconography of the gilt bronze standing Buddha statue with abhaya and varada mudra from the National Museum of Korea correspond to its scriptural description. Moreover, the iron seated Buddha from the Silsangsa Temple and another iron seated Buddha image from the Seongjusa Temple, as described in “The Stele of Seongjusa Temple,” can be possibly identified as Locana Buddha with abhaya and varada mudra. Therefore, Vairocana Buddha statues with abhaya and varada mudra should have been produced from in the late seventh century. The iron Locana Buddha statue from Samhwasa Temple in the late ninth century could also belong to this tradition. In conclusion, during the Unified Silla period, it was a conspicuous phenomenon to make a Buddha statue related to the Hwaeom school, which was differentiated from other neighboring countries, by establishing a peculiar view of Hwaeom buddhakāya. Moreover, they promptly received new Buddhist doctrine and then interpreted it their own way so that they could create the principal statue for worship. By analyzing these types of the Hwaeom Buddha statues, we are able to understand individuality and internationality of Buddhist sculptures in the Unified Silla period.