Religious belief and ideas are transferred to the secular life of mankind through rich and varied art forms. The value of artistic beauty brings out the divine orientation of human beings by spreading the continuously religious symbols. Two kinds interact and mutually penetrate each other; they are not only looking for the possibility of their own developments in mutual space, but also creating and practicing the meaning of religious art through the process of the continuing dialogue. Many types of Chinese religious artwork, however, having translated the sacred concepts into concrete images, and then having become the representative of the gods of traditional belief, how they highlight the unique value of its existence through its symbolic capacity? As a carrier of the spirit and wisdom, from the Wei Dynasty, statue sculptures has accumulated a wealth of traditional essence, and under the changes of time and space, it also has constructed the golden age one by one. With the movement of race immigration and the process of multi-cultural integration and reconstruction, Taiwanese statue sculptures preserves the Chinese religious thought and aesthetic experience; in the meanwhile it creates the spirit of local belief and industry. Is it possible in the wave of modernization to find a space of developing itself? Given the above, I will study the statue sculptures’ creation in the historical context, and then find out the Zeitgeist showing up by the artworks. In this thesis, at the first chapter, I observed the interaction between symbols and objects through the religious art form and its way of being operated in Chinese society, and then looking for the direction of traditional religious values development. In chapter two, follow the process of Figures from the Wei Dynasty, I looked at various periods of sculpture, and found out the scenes of the prevailing social and life those were reflected by the themes of creation, style characteristics, usage of materials, and ideological content. After the inquiry of creation of traditional forms, in the third chapter, the most important part is about the main statue sculptures worshiped by folk in Taiwan; I discussed their producing techniques evolutionarily in Taiwan, and analyzed their styles, in order to find the way of localized practice. Follow the researching results of the multicultural nature and changing values, in discussed of the fourth chapter, in addition to re-examine the trend of localized activities for understanding the inevitability and necessity of cultural integration, I also made a integrated response to Taiwanese statue sculptures’ various levels of development.
