“满腹经纶性刚直，驱邪斩妖剑三尺。”在中国民间，钟馗是“神威不可测”的代表，他不仅可以斩妖除魔，还有平定民间纷争、化解祸事、伸张正义的神力。
相传钟馗曾考中状元，可竟因为相貌丑陋被皇帝剥夺了状元头衔，钟馗因此大怒，触阶而死。死后到了阎王殿，阎王特别怜惜他的才学和品格，这才授以官职，命其专司不平之事。京剧中钟馗的扮相十分夸张：他身穿钟馗衣，用垫肩、垫臀等辅助性物品使人体变形，象征形象丑陋，在造型及表演中突出渲染、夸张其粗犷威猛的身段，塑造出一个既丑陋又可爱的经典角色。
南朝谢赫将“气韵生动”作为绘画的评判标准，而气韵也是我绘钟馗所追求的境界。
纯粹的书法运笔将气韵的流动婉转体现得淋漓尽致，线条与动势的相互变化让画面
亦动亦静、阴阳顿挫、虚实相生，生动表现出钟馗威震阴阳的无私正气。
'A mind steeped in classics, a spirit unbending and upright; with a three-foot blade, he cleaves through evil and subdues the night.' In Chinese folklore, Zhong Kui embodies 'immeasurable divine power.' Beyond vanquishing demons, he possesses the celestial authority to settle worldly disputes, avert calamities, and uphold justice.
Legend has it that Zhong Kui once took the top honors in the imperial examinations. However, due to his unconventional appearance, the Emperor stripped him of his title. In a fit of righteous fury, Zhong Kui took his own life by striking his head against the palace steps. In the underworld, the King of Hell—moved by his immense talent and integrity—granted him a divine office, charging him specifically with the redress of all injustices. In Peking Opera, Zhong Kui’s appearance is strikingly exaggerated: he wears specialized attire with shoulder and hip padding to distort the human silhouette, symbolizing his rugged features. Both the styling and performance emphasize a raw, formidable physicality, crafting a classic persona that is simultaneously grotesque and endearing.
Xie He of the Southern Dynasties established Qiyun Shendong (Spirit Consonance and Life Motion) as the ultimate canon of painting; it is this very 'vital rhythm' that I strive for in my depictions of Zhong Kui. The pure, calligraphic brushwork manifests the fluid elegance of this rhythm to its fullest. Through the interplay of line and dynamic momentum, the canvas exists in a state of both stillness and motion—alternating between shadow and light, the substantial and the void—vividly portraying Zhong Kui’s selfless, noble spirit that commands both the mortal and the spirit realms.