| The paper mainly takes preliminary Analysis on Chinese door-god art of artistic language from the perspective of the folk-art and folk-custom. It mainly explored the following questions:Firstly, the spiritual basis and the historical evolution of the language of Chinese door-god art; Secondly, the basic characteristics of the artistic language of Chinese door-god art; thirdly, the aesthetic value and the reference value of artistic language about Chinese door-god art.Before examining the above questions, this article set through the origin, history, geographical distribution, as well as the main categories of Chinese door-god art roughly. Then, from the perspective of folklore and folk-art, it focused on the formation of the conceptual foundation of Chinese Door-god art. Through review of literature and analysis of works, this paper provided more detailed analysis of Chinese door-god art on its language evolution from the original simple style to the sophisticated and splendor art, and sum up two features of the historical evolution, namely, personality residing in the communality, as well as the variation residing in the stability.Taking the most representative works in the Ming and Qing Dynasty, this paper discussed the basic characteristics of artistic language of Chinese door-god art. Respectively analyzing the modeling, color, and composition of Chinese door-god art, the ornamental features was studied; aesthetic standards were discussed through two figurative languages of "beautiful" and "ugly". Roughly choosing the Qin Qiong and Wei Chigong paintings in the six main place of origin--Zhuxianzhen, Yangliuqing, Taohuawu, Zhangzhou, Mianyang, Fengxiang as the cases, and emphasizing on the shape and color, the language features and the regional style of Chinese door-god art was analyzed,.Finally, this paper analyze the aesthetic value and the reference value of Chinese door god painting from the points view of national cultural meaning and the duality of artistic thinking.
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