Through an analysis of the recent scholarship on fifth and sixth century naming of Vairocana Buddha images, the current article will highlight some of the areas in which current methodology is deficient. Those areas will be systematized with explanations, corrections and new approaches. The discussion will follow available materials, while the implicit focus on sorting out the relationship between the naming of images and the religious history of the Huayan school. Through the consistencies and inconsstencies between the Luoyang Qielan ji 洛陽伽藍記and the Fozu tongji 佛祖統記, and by employing visual experience to expand upon existent scholarship, we accept the possibility put forth by YOUSHIMURA Rei of using the term renzhong 人中(Japn. jinchū) to represent this form of Vairocana Buddha images. At the same time, on the basis of a postulated connection between images and the naming of those images, the term renzhong can be regarded as a graphical sign. Through a table-based comparison, it becomes apparent that the naming sequence is similar to the principles of creating Chinese characters of that era. Additionally, further analysis indicates that the key to religious doctrinal understanding of the significance of the naming is in the development of Huyan religious doctrine. Frankly, in both ordinary visual experience and it the overall experience of the devleoment of Huayan doctrines, the naming of Vairocana Buddha images in the fifth and sixth centuries underwent three stages of devlepment: 1.renzhong; 2.vairocana and dharma-realm; 3.Vairocana dharma-realm renzhong image or renzhong Vairochana. These developments are clearly associated with the perod preceding and following the translation of the Shidi jinglun十地經論(the Yongping period in the Northern Wei), which led to the gradual clarification of Huayan doctrine.