The bodhisattva images of high Tang dynasty, now we are watching, are different from the other women images which were represented in other genres like paintings and metal work producted in those days. More specifically, the bodhissattva images seem to stand out as the neuter image rather than feminine gender. Sometimes they look even foreign than the other women images of Tang dynasty. This means that the women images in Tang dynasty represented two things, the court lady image and the foreign women image. The Chinese thought that the Buddhism was a foreign religion ever since it has been transmitted to China. It is natural for them to think that if there had been a real model to make a bodhisattva image in Tang dynasty, it would have been more of a foreign woman than a Chinese woman. Neuter gender features represented on bodhisattva images are concerned with the same representational tendency in Indian sculpture during post Gupta and Pala period. On the other hand, it can be explained as a certain metaphor which reflected the status of women after Wu Zetian(巫則天) period in Tang dynasty. This contrasts well with the Buddha images like Sakyamuni which were created in the image of male gender. The Buddha images in Tang seems to strongly show their dignity by male or masculine feature. Though bodhisattvas have literally the identity of man in Buddhism as we know, its sexual identity slightly changed to that of woman at some point in high Tang period. The precious rain canon, Baoyu-jing(寶雨經) in which a man would become Maitreya(彌勒) after his rebirth in the body of woman, affected such changes. And the tendency to prefer girls to boys of the people in Tang China was also influenced. Even if one cannot find the feminine consciousness in the sociological meaning from the bodhisattva images of Tang, no one can deny that they reflected an advanced opinion about the attaining Buddhahood of women.