Thinly executed decorative elements on the god's head, left shoulder, and left leg show the patterns on his headgear and armor and hint at time standing still. In the meantime, the clothing and beard are swept back in evidence of quick motion. Wu hit upon a way to convey this sense of motion while watching martial characters bound about the stage in Peking Opera to the accompaniment of drums and cymbals.
《玄天上帝》一作，吳榮賜利用雕刻的精粗之分暗示靜與動的關係：玄天上帝的頭部、左臂和左腿，以細緻的裝飾表達出頭飾與甲冑的圖案，暗示時間的凝止；而衣襟與鬍鬚，則因力的激盪而呈現一定軌跡的飛舞。