This study reviews how new styles of stone Buddhist images were adopted and evolved in the early Goryeo period (918-1392) with considerations on the background against which the adoption of new styles occurred. First, this study examines a stone Buddha triad at Gaetaesa Temple, which can be said to represent the culmination of the grotesque-looking structural elegance of Buddha images of the Later Three Kingdoms period and the starting point for new styles in stone Buddha images in the early Goryeo period. Then, this study explores the development of the new styles of stone Buddha images by examining stone Buddhas wearing crowns. The study also sheds light on the dating of the Buddha and the background for its creation. The Buddha triad in question appears to represent the culmination of the grotesque- looking structural elegance under the influence of other stone Buddha images erected in the Gyeonggi Province during the reign of King Taejo of Goryeo. The triad exerted a direct influence on the stone standing Bodhisattvas in Maesan-ri, Anseong and at Gwanchoksa Temple in Nonsan, which were erected in the mid-10th century. We can also say that it exerted an influence on Buddha images, including the one in Wonpyeong-ri, Chungju, which had the styles of those made during the Unified Silla Period (676-935), thus forming a unique style of the period that maximized elements of grandiosity and grotesqueness. However, they appear to mark a compromise with traditional styles, as shown by the one in Gueup- ri, Pocheon, or to reflect influence from the Chinese Liao style as seen in the bodhisattva at Daejosa Temple in Buyeo, during the late 10th century. From the mid-11th century, however, they were gradually superseded by images displaying a strong sense of locality, becoming somewhat stereotyped and simplified like those at the Anguksa Temple Site in Dangjin and in Godo-ri, Iksan, perhaps as a result of the expansion of potential donors and the shortage of competent craftsmen. With regard to the new styles of stone Buddha images of the early Goryeo Period, which exhibit a structural elegance reminiscent of a stone column and exude a sense of grandiosity and grotesqueness, it would be inappropriate to look at the background for their erection from a purely religious perspective. Taking as an example the stone standing Buddha triad at Gaetaesa Temple, which was erected to commemorate the unification of the Later Three Kingdoms in 936, it must have been intended to show off the valiant spirit of the Goryeo Dynasty, which accomplished the feat of unifying the Later Three Kingdoms on the Korean Peninsula in 936. The stone standing bodhisattvas in Maesan-ri, Anseong and at Gwanchoksa Temple in Nonsan, which were erected during the reign of King Gwangjong (r. 949-975), wear crowns. It is associated with King Gwangjong’s declaring himself as an emperor. Looking at the stone standing Maitreya bodhisattva at Daejosa Temple, which clearly displays the influence of Liao in the 11th century, one can see signs of the frequent exchanges between Goryeo and the Khitan and the influence of the Beopsangjong (Dharma character school) which had a leading role in Goryeo. The stone standing Bodhisattva in Gueup-ri, Pocheon and the stone standing Buddhas at the site of Anguksa Temple in Dangjin, and in Godo-ri, Iksan were erected to pray for the peace and affluence of the regions and the country. As such, the Buddha statues contained diverse elements of political significance because they viewed Buddhist artworks as being intended for the protection of the country under the influence of such thoughts prevalent during the Goryeo Period.