作品中取自於1511年杜勒（Albrecht Dürer）的油畫《三位一體的崇拜》(Adoration of Trinity)的元素。盧昉的創作理念在這個系列中整體的主題為東西方神明的角色互換，早期大多為西方的神明跑來東方的場景，近年的新作反而多是以東方的神跑到西方的畫中，像是西方原本畫作中耶穌跟瑪利亞的位置錯換成東方信仰的關公或觀世音菩薩，主要想表達一種東西方信仰的衝擊和宗教錯換的主軸，這是藝術家一開始原本不太敢處理的題材，原因是盧昉從小在基督教家庭長大，對他來說東方的傳統信仰和宗廟神像是個禁忌，從小對東方的神明有種忌諱感，藝術家因此想去思考東西方的宗教信仰的比較，帶出不同文化下的宗教與神祇形象上的差異性。

此外，藝術家太太的家庭是道教信仰，而自己原生家庭則是西方的基督教，兩個家庭的宗教信仰有個不同中又有些類似的文化對比，岳母在宮廟執事，母親卻在教堂做事，於是藝術家兩年前開始觀察台灣宗教儀式的不同，像是媽祖繞境及中元普渡等，發現有諸多地方像極了在西班牙等不同國家和信仰的儀式行為，只是神明的長像及東西方文化環境的不同，神像是人造出來的面貌，也和原本自身的人種及文化相結合，因此盧昉在畫作中提出藝術家對於宗教的觀察心得，在不同的時空背景中，同一個神明的靈體會因為文化的不同而有了不同的形體及樣貌，進而創作出一種大融合的神明世界，大佛這張中有著原本是基督教中三位一體的模樣，結構中原本只想抽換基督的臉成佛祖的頭, 後來還是放上整體的佛像，一開始也考慮擷取彰化大佛模樣，但後來因為色彩和風格的搭配，改採用日本鐮倉大佛的樣貌，作品中揭發人們對宗教信仰與神明的想像。加上今年因為疫情的影響而中斷很多的宗教活動，某方面連東西方的神明也受到影響。畫面上光線處理也處理讓東方的神像更加顯著，進而捨去前方主教衣服上過於搶眼的服飾刺繡，而畫中的鴿子則是代表聖靈聖潔的形象。

The work is derived from the elements of Albrecht Dürer's 1511's oil painting "Adoration of Trinity." The overall theme of Lu Fang’s concept in this series is the exchange of roles between the Eastern and Western deities. In the early days, most of the scenes were where the Western gods running into the East places. In recent years, most of LU's new works are paintings of Eastern gods running to the West paintings. It is Guan Gong the Holy Ruler or Avalokiteśvara of Chinese religions replacing the place where Jesus and Mary were in the original Western paintings. The main purpose is to express the impact of Eastern and Western beliefs and the religious image confusions. This is something the artist was afraid to deal with at the beginning of creating. Owing to Lu Fang's growing-up in a Christian family. For him, traditional Eastern beliefs and Chinese temples and deities has been like taboos. He has a sense of taboo against Eastern gods since he was a child. Therefore, the artist wants to re-think about the comparison of Eastern and Western religious beliefs. The differences in the images of religions and gods in different cultures are therefore revealed.