As examples of the interpretative capacity, ingenuity, and art of local carvers, Indo-Portuguese altarpieces show how religious-cultural differences could be re-enacted to create new and very particular forms that enriched Indo-Portuguese artistic production. The Northern Province played an important role in the economy of Portuguese India from the sixteenth century until at least the eighteenth century. Although Diu was geographically distant from Goa, the capital of the State of India, and from Bassein, the nearest artistic production center, the artistic panorama in Diu’s churches nevertheless developed to a remarkable extent, and its many hybrid depictions bear witness to artistic-cultural exchanges. Ornamental figurative elements and architectural elements of Portuguese origin were refashioned using the language of local art and its symbols of devotion. In the carvings executed by local artisans, the symbols of local religions were transposed into the Christian decorative grammar with the aim of explaining, through images, the gospel of a new religion to devotees of a religion rooted in centuries of history, resulting in artistic-cultural hybridity.

作为当地雕刻师的解释能力，创造力和艺术的例子，印度-葡萄牙的祭坛画展示了如何重新制定宗教文化差异，以创造新的非常特殊的形式来丰富印度-葡萄牙的艺术作品。从16世纪到至少18世纪，北部省份在葡萄牙印度的经济中发挥了重要作用。尽管Diu的地理位置与印度首都果阿和最近的艺术创作中心Bassein都相距遥远，但Diu教堂的艺术全景却取得了显着发展，其许多混合描写见证了艺术文化交流。葡萄牙起源的装饰性图形元素和建筑元素使用当地艺术的语言及其虔诚的象征进行了重塑。在当地工匠执行的雕刻中，当地宗教的符号被转换为基督教的装饰语法，目的是通过图像将新宗教的福音解释给植根于几百年历史的宗教信徒，从而产生了艺术意义上的-文化杂交。