The circumstances of creation of this Buddha triad are well documented in the scroll text found inside one of the statues, which provides essential information such as the date of creation (1606) and the names of patrons and artists. These three statues are, therefore, useful as a reference for dating other mid- to late Joseon Buddhist sculptures. Seokjun and Gakmin, mentioned as the authors of this triad, appear to have been monk sculptors who were active between the late 16th century and the early 17th century. The three statues are also potentially significant for research into the activities of monk artists around the turn of the 16th century and exchanges between them. All the while inheriting the prevailing sculptural style of the 16th century, this triad also mirrors a more sober and plebeian aesthetic that emerged in the early 17th century. Monk sculptors who studied with Seokjun and Gakmin later became leading figures in the 17th century Buddhist sculpture scene; another factor that makes this triad highly significant for the history of mid- to late Joseon Buddhist sculpture. At an iconographic respect, these three statues have the merit of faithfully showcasing the style of Sakyamuni Buddha triads that were extremely popularly made at that time, along with Vairocana Buddha triads. Meanwhile, the Buddhas represented by the three statues are identified in the prayer scroll found inside one of them.