Amitabha with the Eight Great Bodhisattvas painting was made by adding a iconography of Eight Great Bodhisattvas to Amitabha painting in late Koryo Dynasty for which Amitabha Buddhism had been mixing with Esoteric Buddhism. has been designated as a original source of Koryo’s Amitabha with the Eight Great Bodhisattvas painting for a long time. An original source of iconography of Koryo’s Amitabha with the Eight Great Bodhisattvas painting seems to be one of two styles which had been popular during that time. It is the Amitabha with the Eight Great Bodhisattvas painting, which had been found in Dunhuang in 9 century and have been kept in the British Museum. It appears that the painting followed the picture composition and the arrangement format of the painting where Esoteric Buddhism’s Virocana was arranged together with Eight Great Bodhisattvas. As a result of investigation of the names and positions of Eight Great Bodhisattvas in the painting, bodhisattvas whose feature and attribute is similar to those found in an original source for the Eight Great Bodhisattvas painting, , were Avalokitesvara, and Vajragarbha but not Ksitigarbha, Manjusri, Samantabhadra, Sarvanivaranaviskambhain, Maitreya, and Mahasthaprapta. The disposition order of bodhisattvas on the painting was foremost Avalokitesvara and Mahasthaprapta →Maitreya and Ksitigarbha → Manjusri and Samantabhadra → Vajragarbha and Sarvanivaranaviskambhain, which seems to reflect the order of people’s trust in them. Finally, as compared Amitabha with the Eight Great Bodhisattvas paintings, which were made in Koryo Dynasty(late 13C-14C), with those made in China or Japan during 8C to 9C, there are some differences in iconographic features of the painting. Especially, Amitabha’s dressing method, hand gesture, bodhisattva’s shawl and box, book, and stick as the bodhisattva’ s attribute indicate that influence of Esoteric Buddhism on the iconography of the painting declined and Koryo’s own style appeared. Furthermore, an appearance of the Reception painting and an replacement of Akasagarbha by Mahasthaprapta reflects Koryo’s own style pursuing the iconography of Amitabha Buddhism.