我爱张桂铭的画。它疏松、瑰奇，驰骋着幻想的线和色彩。一花一鸟、人物背景无不给人以动中极静又静中极动的禅境。

　　如梦中的记忆：似是而非不可名状、不沾不滞又自成境界。

　　如孩提时代：在一个静谧的夜晚，听一位乡间老人讲蒲松龄“聊斋”中的故事。那么神奇，又那么富有乡土气息。

　　这些都是我近年越来越感受到的，而不是过去。因为它超越了我过去的欣赏习惯。

　　　　　　　　　　　　　　　　　　　　　　　　　　——了庐

　　I love Zhang Guiming’s paintings. It is loose, queer, riding the line of fantasy and colors. Either a bird, a flower or the character of the background can bring us into a atmosphere of motion in stagnation and stagnation in motion.

　　Like memories of the dream: specious, indescribable, not stick, but form its own realm .

　　Such as in childhood: in a quiet night, listening to people talk about “Ghost Story” of Pu Songling. So magical and so full of local flavor.

　　These are all I felt in recent years, rather than in the past. Because it goes beyond the customary I appreciate in the past.

　　艺术上的创新，离不开个性的建树。但所谓“个性”，有在共性基础上出类拔萃的创造，又有在孤独方向上与众不同的创造。张桂铭前期的创作，所追求的是前一种个性，而后期的创作，所形成的是后一种个性。毫无疑问，前一种个性的风格可以为大多数画家所共有，而后一种个性的风格则只可有一、不可有二的，因此就更鲜明，更难能可贵，更切合多元化的时代要求。

　　　　　　　　　　　　　　　　　　　　　　　　——陈佩秋

　　Artistic innovation can not be separated from the achievement of the personality. The so called “personality” not only has the creation based on .the general background but also has the unique creation that made by oneself solely. Zhang Guiming’s early works pursues the former personality, but his late works represents the latter personality. Undoubtedly, the former personality’s style is more likely to be accepted by most painters, but the latter one is unique, more rare and bright, and more likely to meet the requirements of the time of cultural diversity.

　　探索是以平面构成为中心展开的。画家完全摈除了对纵深感的追求，把物象都并置于二维空间。物象本身如花瓶、花朵、鸟儿、叶子、果实等等，也没有三维体积感。传统花鸟画也接近平面化，但毕竟还保持着一定的纵深表现和体积可话。张桂铭的平面构成，既异于20世纪的写实绘画，也不同于古代绘画，其空间形态和造型特征接近图案但又不同于图案——它与图案的根本区别，是物象排列组合的非规律化(非二方连续、四方连续等)，这一特征，为画家提供了构图的自由度和再现物象自然关系的可能性，也有利于观者开启相应的空间联想。

　　　　　　　　　　　　　　　　　　　　　　　　　——郎绍君

　　Exploration starts with the plane as the center. The painter completely gets rid of the pursuit of depth, and places the images in two-dimensional space. The images themselves such as vases, flowers, birds, leaves, fruits, etc., there is no sense of three-dimensional volume. The traditional flower-bird paintings are close to complanation, but after all, they also maintain a certain degree of depth and volume. Zhang Guiming’s plane composition is different from the 20th century’s realist paintings, and also different from the ancient paintings. Its form and shape are close to the pictures but also different from the pictures—their key difference lies the lacking of a law of the permutation and combination of images in Zhang’s painting (not the two parties consecutive, but four parties consecutive). This characteristic offers the painter the freedom about the composition as well as the probability of reproducing the natural relationship between images, but also conducive to the audience to open the corresponding association of the space.