中国人对门神的信仰已经延续了两千多年，至今还有春节贴门神的习俗。
门神“家族”阵容强大，从早期的神荼和郁垒，到钟馗、秦琼、尉迟敬德。明清时期，门神甚至分化为文门神和武门神两个阵营，武为驱邪，文为祈福，财神、寿星、状元和天仙统统成为文门神阵营中的一员。
经过民间多少代的传承，门神这个文化符号已成为中国人审美意识的浓缩。
我在国内各个地区的民居和博物馆里见过很多种门神的图式，都能从中感受到民间艺术的鲜活生命力。我的绘画正是基于这样深厚的文化背景，我想用现代的形式激活传统图式，用书法性的线条和意象性的笔触，重新演绎这一经典符号。
在门神的画面中，我往往简化面部的刻画。很多人问我：“你画的门神为什么没有脸？”其实我只是尝试用一束光来象征其神性，同时着力描绘其夸张的甲胄与兵器，让形象更具力量感和神秘感。我画的并不是某一个门神，而是门神本身在中国文化中所承载的精神力量。
在探索的过程中，我画过一系列的门神形象，用过视觉冲击力很强的红色作为主体背景，也曾借鉴过西方立体主义的表达形式进行大胆撞色，结合我自己典型的写意笔触，创作出新的艺术画面。
所以“门神”系列作品是不同以往的，它们来源于传统，又超脱于传统。门神在任何时候都并非只是简单的一幅画，也并非固定的几个脸谱形象，它的背后蕴藏着古老浓厚的中国文化。
The Chinese belief in Door Gods has endured for over two thousand years, a tradition that remains alive today through the custom of pasting their images during the Spring Festival.
The lineage of Door Gods is vast and formidable—from the early legends of Shentu and Yulei to the later figures of Zhong Kui, Qin Qiong, and Yuchi Jingde. During the Ming and Qing Dynasties, they even branched into two distinct realms: the Martial and the Civil. While the Martial gods were invoked to ward off evil, the Civil gods were beckoned for blessings, bringing figures like the God of Wealth, the God of Longevity, the Top Scholar, and Heavenly Immortals into their sacred ranks.
Through generations of folk heritage, the cultural icon of the Door God has become a distilled essence of the Chinese aesthetic consciousness.
Having encountered diverse motifs of Door Gods in traditional residences and museums across China, I have always been moved by the vibrant vitality of folk art. My paintings are rooted in this profound cultural soil; I seek to revitalize these traditional patterns through modern forms, reinterpreting this classic symbol with calligraphic lines and expressive brushwork.
In my depictions of Door Gods, I often simplify the facial features. Many ask: 'Why do your Door Gods have no faces?' In truth, I use a beam of light to symbolize their divinity, while focusing my intensity on the exaggerated armor and weaponry to imbue the figures with a sense of power and mystery. I am not painting a specific deity, but rather the spiritual force that the Door God carries within Chinese culture.
Throughout my exploration, I have created a diverse series of these guardians. I have used striking, high-impact reds as dominant backgrounds and have boldly experimented with Western Cubist forms and contrasting colors. Combined with my signature Xieyi brushstrokes, these elements converge to create a new artistic vision.
Thus, the 'Door God' series represents a departure from the past—they originate from tradition, yet transcend it. At any given moment, a Door God is never merely a simple painting or a fixed set of operatic masks; it is a vessel for the ancient and profound depths of Chinese culture.