我在大陆地毯式的搜寻具有独特创造面貌的中年水墨人才，也快有两年了，见过的画家、相交的画家不知凡几，在有相当程度和谅解的今天，愈来愈多的场合常会遇到有人问我以今天大陆的水墨艺坛来说，你认为将来谁最有发展，谁最具有师相，我都会不惭地声明妄下高论说，上海中国画院副院长的张桂铭是第一号人选。在北京云云大将环侍之下，被我贴上新海派头号大奖的张桂铭最有可能是中国20世纪最后的大师，并且他已经引领我们这积弱中国水墨艺术正在拆解21世纪的中国艺术大门。

　　　　　　　　　　　　　　　　　　　　　　　　　——登琨艳

　　I have been searching the unique ink painting talents of middle ages in the mainland for almost two years, and I have seen and made friends with a lot of painters. Today, when I have a considerable degree and understanding of today, more and more people in different occasions would ask me the question that which painter in the mainland circle of ink paintins is the most promising one, and I will not be ashamed to name proudly Zhang Guiming-the vice president of Shanghai Chinese Ink painting Institute as the first candidate. Among the large numbers of completive Ink painting talents, Zhang Guiming who marked by me as the leading figure of new Shanghai style is the one most likely to become the last master of the 20th century in China, and he has already led us towards the art gate of China of 21th century. of the 21st century Chinese art door .

　　不再特意于人物加上花鸟的形式的语句式突破是又一大变。因为已经掌握了语法、音乐美，20世纪90年代的一批纯花鸟—姑妄名之，这是一个沿袭以久、约定俗成、易于联想的命名，其实我认为张桂铭作品所完成的革命来讲已经不能简单地归类于花鸟画了，因为它不是对中国花鸟画的革命，而是对整个中国画语言的革命。一、在构图上，某种交迭喻示着物理空间完全让位于心理空间，构成不留天地乃至不留跋，完全是线与色有音乐空间。二，造型，如荷叶、荷花、石榴、山花等更有个性，新得令人惊喜。三、线或空灵或野逸，或轻柔或刚健，更加自如。

　　　　　　　　　　　　　　　　　　　　　　　　　　——惠蓝

　　The form of flowers and birds are no longer deliberately added to the characters, which is another breakthrough. Because he has already grasped grammar, and musical beauty. The pure flower-bird paintings of the 1990s, which can be know from its name as very conventional jump, actually I think the revolution in Zhang Guiming’s painting can no longer be categorized in the flower-bird paintings, because the revolution belongs to the revolution of the language of the entire Chinese paintings rather than the revolution of Chinese flower-bird paintings. First, in the composition, some fold hints that the physical space has been replaced by the psychological space, totally a musical space full of lines and colors. Second, in modeling, such as lotus leaves, flowers, pomegranates, etc. all so fresh to surprise us. Third, lines are either intangible or elegant, either gentle or energetic, all are more comfortable.

　　张桂铭作品的风格和气韵不属于大型重乐而如轻音乐，不属于舒缓悠扬的轻音乐而如明朗欢快的轻音乐。趋向轻音乐者并不一定是“形式派”艺术家，但“形式派”艺术家的作品肯定趋向轻音乐。不过这并不非坏事，正如追求形式美不等于媚俗，轻音乐不等于轻浮……轻快、明快、欢快——构成张桂铭这种画风的主要因素是墨色关系，是墨线分割中鲜明的、响亮的、跳跃的、小块切割的色彩构成。欣赏张桂铭的绘画，常让我联想起欢快跳荡的木琴。

　　　　　　　　　　　　　　　　　　　　　　　　　——刘骁纯

　　Zhang Guiming’s style and artistic conception do not belong to the large-scale heavy music but to the light music. But they belong to the quick and bright light music rather than the slow and melodious light music. Those who prefer light music need not to be of “formalism”, but those of “formalism” must tend to light music. But this does not mean bad, just as to seek the beauty of form do not necessarily mean vulgar, and light music do not equal to frivolous ... ... Brisk, bright, cheerful – the main elements that compose this style of Zhang Guiming’s painting is relationship between ink and color, among ink lines are the bright cheerful small pieces of colors. Appreciating Zhang Guiming’s paintings, I often think of the happy xylophone.