新翻别调谱霓裳，天上星辰耀大荒;不是画家奇异想，外星艺术闪奇光。

　　　　　　　　　　　　　　　　　　　　　　　　　——程十发

　　Produce new spectrum and new costume from fresh ideas, stars from the sky are shining brightly over the barren ground; not an exotic thought from the painter, but the extraordinary light of the alien art.

　　张桂铭的题材，几乎就是单一的池塘荷花，但他不是崔子范式的符号化，而是高度的抽象化。不论荷叶、莲蓬还是水鸟、游鱼都被平面化地切割分离，他像色彩分割派那样将碧绿、粉绿、中黄、土黄、普蓝、土红填涂在分割的块面中，以显示对象中本不存在的斑斓的色彩;莲梗荷枝则在空白的纸画上做平面的切割，以和分离的色块呼应。整幅画面就以草书用笔编织的线与色块的构成，准确地说，是介于冷热抽象主义之间的构成，至于是否花鸟的形象已不重要。

　　张桂铭是在花鸟画兼墨语言内部将抽象形式推向极端的个案，他的典型性在于连接了从潘天寿始，经过崔子范的踏跳而形成的一条走向纯抽象的直线，……

　　　　　　　　　　　　　　　　　　　　　　　　　　——尚辉

　　Zhang Guiming’s theme seems only to be the lotus and the pond, but he dose not become of symbolization like Cui Zifan, he attaches a high degree of abstraction. No matter they are lotus leaves or water birds, or swimming fishes, they all be cut from plane. Zhang separates green, pink-green, yellow, earth-yellow, earth-blue and earth-red, and fills them in the different blocks in the plane, showing the gorgeous colors that do not really exist in the images themselves. The lotus petiole and the branches of the lotus are cut in plane in a blank sheet, in order to echo the separated colored blocks. The whole painting is a composition of lines that weaved by pen from the cursive hand, and the colored blocks. Exactly, it is between the hot and cold abstract art, paying no attention to that whether it is of the flowers and birds’ images.

　　Zhang Guiming is a typical individual case to put the abstraction to the extreme in the flower-bird painting. His typicality acts as a linking part from Pan Tianshou to the jumping of Cui Zifan to lead to path of pure abstract art……

　　与米罗相比，张桂铭的线条多了一层东方书法性用笔的意蕴。也正是极具书法意蕴的线条，才保证了张桂铭的作品不致于堕入平面装饰的镜地。张桂铭的画不是康定斯基或者米罗等人的“点线面”作品，张桂铭画中的线条与色块指向的不是抽象的平面构成，而是中国传统士夫诗词或者民间小调的内涵。当然张桂铭的观望角度与切入点却是现代性的，这是一个现代人所演绎的宋人小令。这种现代人的观望角度，使我们更亲切地看到那一片也曾在古人那里被再三描绘过的幽然天地，荷塘与小鸟，静夜与素瓷……

　　我个人更偏爱张桂铭作品中线条酣畅淋漓甚至是恣肆张扬的一路。而如果照“人书俱老”的经验，则可让我们期待张氏作品愈趋老成辛辣的境界。

　　　　　　　　　　　　　　　　　　　　　　　　　——徐聚一

　　Compared with Miro, the lines of Zhang Guiming has a sense of oriental calligraphy. Just those meaningful lines ensure that Zhang Guiming’s works would never fall into the situation of plane decoration. Zhang Guiming’s paintings do not like those of Kandinsky or Miro’s "Point, Line and Plane”. The lines and colored blocks in Zhang Guiming’s works do not point to the abstract constitute of a plane, but the connotations of traditional Chinese poems or Xiao ling of the Song dynasty. Of course, the perspective and starting point of Zhang Guiming is of modernity, this is a modern interpretation of the Xiao Ling of the Song dynasty. The modern perspective makes us see more clearly the serene and peaceful environment that had been depicted over and over again by the ancient people: lotus pond, birds, silent night and white china.

　　I personally prefer the bold and unrestrained lines of Zhang Guiming. And if according to the experience of “the meaning of the books gets more and more deeply in the body with the passing of each day”, so that we can do is to look forward the mature spicy realm that Zhang Guiming gradually build with each passing day.