Feng has continued his languages of abstract paintings as presented previously this time in the Illusive Palace series, such as glazing and two-dimensional process. Compared to the earlier stage, the current works are different on account of the preliminary appearance of the totem and notation, which seems like dreams as well as reflection. At that exact moment, Feng’s mind resonated with the historic buildings and relics of Shanxi, awakening his memories of the indigenous culture. They are kinds of traditional intention that is refloated after the refinement of words. Henceforth, there is visual foundation and cultural heritage for his creation. Moreover, he ceaselessly converts the traditional visual symbols into freshly innovative images, which makes him excel among his peers and thusly obtain the profound understanding of history. 

Actually, it is relatively more rational to enrich the imagination of tradition rather than preserve it nowadays, which is just like we cannot live in the historic buildings or maintain life in strict accordance with the traditional values. The enrichment of imagination is virtually enrichment for today. Therefore, Feng is expanding the two-dimensional space of contemporary society on the basis of history and extending the integral narration of contemporary art while establishing a cultural subject instead of displaying the tradition itself when he is back to the traditional visual images.