傳統樑枋彩繪是因傳統建築以木構件為主，為防構件潮濕及蟲蛀所以塗上油彩，其中堵頭是指樑枋彩繪中最左右兩旁之部分，具有框邊之效果，而祖籍泉州晉江的李金泉（1890-1965年）畫師，於大正二年（1913 年）落籍於新竹，承襲其父李九時之職，以廟宇彩繪工程為其職業項目，業界稱金泉師，其施作之建築彩繪分布於當時台北及新竹一帶。弟子為其子李秋山、李秋江，及外姓弟子傅錠鍈和其子傅柏村與黃興等。本文討論及分析李金泉及其派系在設計堵頭框樣時，所選用的題材內容及組合方式，甚至是探討其常運用的設色形式與慣用手法，其派系的繪畫特色是運用相連且較寫實的圖案來面切分畫，所以圖案的造型描繪上呈現惹草化的作法，在顏色的使用，底色通常使用單一色彩，多以紅色為主，搭配上退暈技法呈現出單純的樸拙感。希冀這樣的專題研究，在日後修復時，能作為些許的參考資料和依據。

In Taiwan, traditions Architecture Painting meant used oil to painted on board ，In order to prevent moisture and vermiculation，Du Tou（堵頭） was the zygomorphic part of Liang Fang painting , such as frame. Li Jin Cyuan（1890-1965）was native to Quan Zhou（泉州）Jin Jiang（晉江）. Li Jin Cyuan and his father emigrated to Taiwan in 1913 and lived in Hsin Chu. He inherited his father's job. Temple painting was their career. His color painting work can often be seen among the traditional buildings in Hsin Chu region. And his Apprentices were his son Li Ciou Shan and Li Ciou Jiang and Fu Ding Ying and Fu Bo Cun and Huang Sing.
This research was intended to focus on Li Jin Cyuan and his Apprentices. The research topics involved theme directions such as the system inheritance and development, and their artistic principles and subject matters of color paintings, and style analyses and characteristics of these particular art forms about Du Tou（堵頭）Painting.
In this essay I hope to do more detailed record and investigations about in Li Jin Cyuan and his Apprentices's works and provides information for academic researches and homeland teaching.