从1995年开始，我一直以花鸟这一古老的绘画主题作为自己的创作题材。其中不仅是因为对两宋院体花鸟画的精准造型、雅致设色和诗意画境的不倦痴迷，更是对其体现出的庄禅和理学的传统美学思想的极大认同。

　　然而，当下绘画的时代性是我不得不面对的首要课题。若在画作的每一处中追求体现经典的艺术出处，毫无疑问作品将会背负沉重的历史负担，而“我”的表达也将受到限制。

　　大约在2000年左右，我开始尝试避开经典的图式和内容元素，更换花鸟画中的传统道具，都是为了跳出传统花鸟画的模式。到《笼鸟系列》的创作，我已经将对人的生存状态的思考植入自己的花鸟画创作中。同时，对压抑、不和谐和挣扎的刻画也出现在了原本以恬静和谐著称的花鸟画题材中。对人的生存状态的关怀成为我近几年花鸟画创作的主题方向。因为只有人文精神的高扬才能使花鸟画不留于浮夸和装饰的表象，使花鸟画的传统在当下可以有意义地活跃起来。

　　Artist's Statement on His Creation

　　I've been taking the ancient subject "flowers and birds" as my creative themes since 1995, not only because of my tireless obsession with the accurate modeling, elegant coloring and poetic scene of court-paintings of the Song Dynasty, but also because of my high identification with the traditional aesthetics of Zhuangzi, Zen and Neo-Confucianism reflected in it.

　　However, the contemporaneity of today's painting is a main issue that I have to confront. If the artistic tradition of classic painting is to be reflected in every detail of a painting, it's undoubted that the painting will bear a too heavy historical burden and the expression of "ego" will be limited.

　　Around 2000, I started to try to avoid classical schema and content elements and change the traditional pictorial props in flower-and-bird paintings, aiming to jump out of the traditional model of flower-and-bird paintings. In the creation of Cage Bird Series, I had implanted my reflections on humans' living state nowadays into my flower-and-bird paintings. Meanwhile, depictions of repression, disharmony and struggle appeared in flower-and-bird paintings that were once famous for tranquility and harmony. Concern about humans' living state has become the theme of my creation of bird-and-flower paintings in recent years, because upholding of the humanist spirit is the only way to free flower-and-bird paintings from the flatulent and decorative representations and revitalize the tradition of flower-and-bird paintings in a meaningful manner instantly.