张瞄从小源自家教以及经过学院的专业训练而具有扎实的绘画基础和深厚的笔墨素养，况且他还具有敏锐的时代意识以及开阔的文化视野，他试图以独特的造型风格与中国传统笔墨技法相结合，营造出一种具有当代文化品质的艺术图式。

　　Zhang Miao has had a profound accomplishment in Chinese painting, with a keen awareness of the times and a broad cultural vision. He has combined his unique plastic style and traditional Chinese painting skills, creating an art schema with contemporary culture quality.

　　近年来他涉足的陶瓷创作上，我们除了能看到他高超的绘画技巧外，我尤其欣赏他那种微微颤动、神经质的充满节奏感(显然得力于他的书法功底)的线条，以及运用了抽象构成、通过虚实之间转换而产生丰富的空间层次，并且，他很好的结合了陶瓷本身的材质及形体特征而创造了充满形式感的视觉审美效果。

　　In recent years he has dabbled in ceramics. We can still see his excellent drawing skills and I particularly appreciate his lines,that slightlyquiver, full of a nervous rhythm (apparently due to his calligraphy skills). He is also using the abstract composition, and through the conversion between fiction and reality, has created an abundant space level. Moreover, he is very good at mixing the ceramic characteristics themselves and visual space aesthetics.

　　张瞄作品里当代年轻人物的形象与背景中的旧城市构成了今天与过去的对比关系，其中流露着一种失落与怀旧的情绪，张瞄通过作品诠释了自己对当今社会生存状态的思考与感悟，其中蕴含了对人性和自然美好的祈望，正如张瞄在他的作品里一再引用黄庭坚的诗句：“若有人知春去处，唤取归来同住”。

　　In Zhang Miao's works the images of contemporary young people are set against a background of the old town, contrasting today with the past and showing a sense of loss and nostalgia. Through his art Zhang Miao interprets his observations and reflections on people's survival status today, and implies a sense of humanity and natural good hope. It is just as if Zhang Miao with his art is repeatedly quoting Huang Tingjian's poem, "If anyone knows were spring has gone, call it back to stay with us."

　　其实，我们尤其应该留意到，在他的陶瓷上常常可以读到一种诗般的意境以及具有淡淡忧伤的美感，而我认为这正是张瞄的作品值得细细品味的地方。这种感觉自唐宋之后延至今天的绘画中已越来越少了。

　　In fact, we should especially pay attention to his ceramic art works. We can often read a poetic artistic concept and with a touch of sad beauty. I think it is an important point in Zhang Miao's ceramic art work that is worth savoring. This kind of feeling has became less and less since the Tang and Song dynasties.

　　显然，张瞄试图在传统文化思想和当代艺术表现之间建立一种有机的链接方式，他没有把艺术的追求仅仅停留在表层的技法形式上，而是把艺术形式作为思想的精神载体。他对生活对艺术具有自己独立的思想和判断，而没有逐波于集体趋同的主流及媚俗的商业模式的相互拷贝，从而让我们能感受到艺术家由内心驱动而展示的精神魅力。

　　Zhang Miao’s attempt to find an organic link between traditional and contemporary art is not only a pursuit of surface skill, but the art form as the thought of the spirit carrier. He has his own independent thinking and judgment to life and art, without waves in the popular art mainstream and cheapcommercial copying of each other. We can feel the spiritual glamour from the artist’s inner drive.

　　文章：伍一洵

　　Article by WuyiXun

作者：伍一洵