1960年代，台灣社會因經濟環境改善、觀光休閒事業發展，許多大神像作為土地上最突出的地標（landmark）大量出現。大神像展現的不僅是建築本身，更是宗教環境、文化歷史所共同創造的特殊「地域事件」。本文由佛光山佛陀紀念館大佛的出現著手，追溯至1961年彰化八卦山大佛，過程中回顧台灣歷經六十年的大神像發展與變遷，最後，本文進一步討論大神像建築意涵，並就其社會經濟背景的連結進行分析，以理解當代大神像的社會文化意義。（全文請見《實構築季刊》06期）

With the improvement in economic conditions and tourism in Taiwan during the 1960’s, statues of The Big God Idols began to appear throughout the island as dramatic landmarks. The statues were not merely architectural constructs, but symbolic "regional happenings" created by the religious establishment with social, cultural and historic significance. This article begins in 2003 with the statue of Buddha in The Fo-Guang-Shan Monastery and ends in 1961 with The Giant Buddha statue of Ba-Gua-Shan in Chang-Hua, reviewing the development of Buddha statues of the past 60 years. It discusses the meaning of the idol and analyzes the connection of its socio-economic background in order to understand the social and cultural meaning of the statues of The Big God Idols.