After the arrival of Buddhism in China, the foreign concept of heavenly buildings merged with the indigenous Tang-Song architecture into what became known as tiangong louge (heavenly palaces). Through comparison with Song building standards (Yingzao fashi), this paper analyzes the architectural representations of tiangong louge in Eastern Pure Land illustrations of the Medicine Buddha. What becomes immediately apparent is that Yingzao fashi describes only a few specific buildings (dianshen, chalou, jiaolou, xiewu, xinglang),whereas the Pure Land illustrations depict a greater diversity and variety of form (for example, sanmen).A possible reason for this is that the idea of the Eastern Pure Land underwent significant change before the Yingzao fashiwas compiled; another reason is that the belief in the Eastern Pure Land was always rooted in reality and the actual conditions of the site. Additionally, Eastern Pure Land illustrations reveal four different types of clustered design: open foreground, one courtyard; open foreground, two courtyards; closed foreground, one courtyard; and closed foreground, two courtyards.