饱览张雷平的绘画作品，可以领悟她的作品的艺术特征;透过这些作品，可以进一步了解她怎样捕获平凡而经典之美，如何渐入个性鲜明的艺术佳境，怎么寻找走在大地上的感受，怎样用科学方法建构艺术世界。

　　“捕获平凡而经典之美”为其一。张雷平的画，苍古醇厚，高气深稳，恢弘朴重，浑遒雄犷，形成了澹宕清旷的中国气象。

　　在张雷平的作品中，厚重是一种气质。这种厚重来自于对自然的感恩、对历史的敬畏、对生命的体悟和对岁月的梳理。在这种厚重中，可以读出画家对艺术的执著追求、对美学的多元思考、对创作的艰辛实践、对阅历的文化积淀。这种厚重，是艺术经历绵延的“水到渠成”，是文化艺术贯通的“自然养成”，是走过大山大水的“文化揭示”，是水墨叠加融汇的“顺理成章”。艺术的厚重，跨越浅薄，趋于成熟，讴歌平实，凸显气质。《前程》是件三米多长的大作品，不仅以巨大显示厚重，更是以大地的腴润丰厚、芦花的灵秀无尽、飞鸟的生命勃发和近景的韵清熙和来表达时空之博大、前程之醇美、气息之凝重、格局之庄重。《芦花》的尺幅不大，却依然显得厚重，黑白灰的关系显示了绘画的基本元素，飞发幽深的线条撑起了艺术的时空，成片的芦花交代了空蒙悠澹，诗情意象的渲染象征了宽博宏约。《月梅》把观赏者带入了月夜的沉浑高古、隆冬的厚朴敦实、梅枝的荒率苍莽、梅花的郁然弥漫。《红荷》以清波烘托荷叶的朴茂厚实，以蜻蜓的轻盈反衬荷花的深靓浑淳，以留白映现岁月的雄放深沉，以轻松自然的墨点来承载作品的拙朴茂丽。

　　在张雷平的作品中，朴实是一种宏大。这种朴实来自于对繁茂郁密的艺术提炼、对恬静幽旷的生命体验、对古拙敦实的美学概括、对隽爽遒拔的视觉展示。在这种朴实中，可以读出画家对艺术的本质解读、对历史的深层理解、对生活的去伪存真、对绘画的大气驾驭。这种朴实，是寻觅风姿飒爽之后的重要美学互补，是对于恢宏博雅的一种文化支撑，是对深湛幽渺的一种艺术垫辅，是在追求灿若星河以后的“返璞归真”。《比翼》以作品上端的酣畅的墨色比照空间的平实寥廓，以一、三、二的简朴队形象征生命方阵的郁拔奇崛，以白色线条的朴实组合建构芦花的艺术构成，以少许朱砂的微染孕育艺术作品的生机盎然。《芳心》的构图工整平实，却不失劲拔高逸;其色彩淡雅清新，却不失璀璨亮丽;其线条疏松逸放，却不失容貌雍穆;其立意率逸疏野，却不失肃壮雍和。《盛开的白玉兰(一)》在简朴的满构图中力显劲健奇伟的布局变化，在朴朗的线条驰骋中凸显白玉兰的清古澹隽，在红绿黄的基本色调中体现风姿的潇洒俊丽，在细节处理的疏豁坦荡中仍见花朵的娉婷袅娜。《林中闲步》把远山处理得浑然一体，但是依然可见“平远”的空间层次;把树林描绘成寥寥数木，然而依然可见林木的郁然森秀;把色彩简约成浓淡赭石，可是依然可见朗丽莹洁;把下端左右删简成“以无胜有”，却依然感到内涵充盈。

　　在张雷平的作品中，阳光是一种心情。阳光，是对云层的穿越;阳光，是对阴霾的告别;对于阳光，无法刻意求索;对于阳光，理应尽情享用。看得出，张雷平作画时的心情总是充满阳光感;在张雷平的作品中，多为阳光明媚，华滋雅健，藻丽茂典，朗然清圆。

　　“渐入个性鲜明的艺术佳境”为其二。张雷平的绘画作品经过岁月的洗礼、心灵的磨砺、艺术的锤炼和创作的实验，个性日益明显，风格日渐养育，格调日趋高雅，佳境日见步入。

　　一是中西融合，光色互动。张雷平早在大学时代就接触西画，对于梵高、马蒂斯作品的光色互动十分熟悉。梵高对于色彩的激动人心的运用赋予光色以独特的生命力，他把肉眼看到的视觉形象转换成富于表现力的、光色互动的象征图像。马蒂斯一生追求主题和绚烂色彩的完美结合。他认为美的色调不可能从照抄自然中获得，而要从主题中独立提取色彩，然后将之转化为画家想触摸和感觉的东西。他依据光色互动的理念，通过填充、强化、放松、净化、加热和冷却等方式挖掘色彩所能表达的最大范畴。在《清波仙葩》中，水波仙子的真骨凌霜、卓健清朴、恣肆超迈、纤秀媚劲，就是得益于光色交融、光色互动。在《春姿》中，春花的红艳剔透、酣纵遒宕、明丽典重、气韵动人，也是得益于对光色的独到的见解和富有创意的运用。《荷塘绿波》以素雅和含蓄的光色调子揭示白荷“蕴刚健于秀柔，含婀娜于率真”。《山田多彩》以水墨光色相互荡漾的手法把山田描绘得“寓深婉于疏俊，以妍丽出沉郁”。

　　二是水墨淋漓，酣畅抒情。张雷平经常处于无拘无束地放飞思想、水墨淋漓地演绎激情的创作状态之中。《旋律(二)》画得苍润虬劲、沉稳寄情、淳秀雅淡、丰姿娟然，温劲而清雄，激越而细润。《绿染》画得娟秀婉美、瑰丽姿意、逸情飞畅、意气爽朗，可谓“以排比出轶宕，含顿挫于温润”。《山田艳秋》画得浑然峻强、恢廓旷明、宽和严实、雄浑渊懿，可谓“于整丽中出疏荡，在浑灏中见矜重。”《水田墨田(四)》画得水墨欲滴、郁茂清艳、纵姿苍茫、自得妙谛，可谓“笔行不似之似，意为不齐之齐”。

　　三是线条灵动，神韵静卧。张雷平从小在父辈画家的演示中懂得水墨线条之美，在博物馆历代画家的作品中感悟线条在中国画中的至关重要的地位，她在中国画的创作实践中，无数次地“以空灵奇幻之笔，运沉博超逸之才”，终得“线条灵动，神韵静卧”之妙。三联屏《大写山田》把墨线处理得天真纵逸、率逸疏放、挺峭遒健、萧飒清朴，可见“理有金石之声，画含风云之润”。《明镜》把线条置于水天一色之上，把情愫汇于水墨淋漓之中，可见“犷悍中求情趣，沉浑里见明净”。《旋律(三)》把线条画得疏密相间、浓淡相宜、流宕飘逸、恬静文秀，深得“清而贵真，雅而见醇”之理。《山岭沟壑》中的线条幽深诡奇、雄强奇恣、肃括岩深、疏爽简朴，“线条曲折而其势可见，笔墨虽繁而遒折放逸”，水墨灵动，神韵静卧。

　　“寻找走在大地上的感觉”为其三。张雷平热爱大自然，喜欢寻找走在大地上的感觉。她的足迹从风景如画的黄山到云雾缭绕、山花烂漫的四明山、雁荡山;从山清水秀的江南到中原文化古都洛阳;从中国西部新疆、西藏、云贵高原、晋陕山川到美国西部科罗拉多大峡谷……”在张雷平的中国画中，丈量着大自然的宽博敦厚，寻找和流露着“走在大地上的感受”。

　　张雷平用画家特有的艺术眼光解读中国西部的自然和风情，关注“时间的痕迹，生活和积淀”，“用线条、用墨块、用色彩、用光、用旋律、用生活、用时空去构造、锤炼，去解构再重建一个新的自然。”

　　在西部，她寻找走在大地上的感觉，那种感觉来自于自然和先民在无意间留下的不朽的“艺术作品”;在西部，她捕获率淡古拙之美，那种美是“特殊中的永恒”;在西部，她不再奢望每座山都要爬到山顶，不再周旋于大自然的细部，以期让心灵去领悟“中华民族堂堂正正的宽阔胸怀”，讴歌那“在阳光下证明着生命的坚忍和顽强”。

　　大自然并不冷漠，只要你用心去品味，可以发现无穷无尽的妩媚、奇伟与壮美。况且经过画家的提炼与概括，可以把视觉冲击、山水情愫和文化震撼艺术地凸显在观众和读者面前。《秋色赋》以老辣的线条、夺目的秋黄和容纳千秋的构成铸就映照汉魏的秋色赋。《绿染山野》以酣畅的水色和跳跃的墨点表达黛绿的山野，抒发人与自然的和谐。《花燃山石》是西部特有的石缝走花、点石成金的壮士情怀的生动写照。《土灿灿》把一片热土、无限金黄捧到我们面前。《山洼之夏》挟裹着黑瓦白墙、山洼故事。《黄土风韵》交待的是西部的土魂、别样的韵律。《巍巍》唱出了巍峨和壮丽，《山峦月色》汇入了深沉和浪漫，《雾凇》渲染了松灵和晶莹，《千山万壑》颂扬风骨和坚毅，《峡谷之光》直抒了大山中那更迭着的抑抑扬扬的昼夜。《自然乐章》留住了许多观赏者，此画尺幅虽大却不失结构严谨，黑白为色却不失飞神走彩，用笔流畅却不失法度传承，视觉艺术却不失旋律悠扬。一路细读，春到拉萨情入围，高秋飞雁声作陪。芦花飞舞漫飞舞，绿海荡漾入梦寐。红土花扬云之南，黄土印象山之北。峪谷倒影留意象，交河古城显壮美。

　　近年来，张雷平把我们带进了她的大山大水的艺术世界。再现西部，需要敢于西行的气概、驾驭恢弘的能力、展示旷达的才情、记忆苍伟的沉稳。我们欣喜地感悟：一种用生命体察的艺术发现，显然更觉楚楚动人;一种用旷达的才情再现的大地胸怀，仿佛更见时空浑然;一位女性画家背后树起的大山，似乎更为刚柔相济。

　　“用科学方法建构艺术世界”为其四。张雷平在绘画创作中显示的是大智慧，她善于总结经验，把技法上升为方法，把论方法和方法论升华到哲学的层面加以分析提炼，用科学方法、艺术哲学建构创作天地。她的艺术思考充满哲理，如“经常要用一个陌生人的眼光看自己”;“看山可以‘壮胆’，……我画的山，不是山，而是试图表现一种气势，一种精神，一种心怀”;“上海这座城市的总体调子和艺术家的生活感受变得亮起来了”;“一个画家,永远面对着一张白纸”。

　　说得多好啊，“一个画家永远面对着一张白纸”!基于此，张雷平执著地说：“我的梦，随着岁月的推移，时代的变革，观念的更新，视野的开阔，慢慢地展现出清晰的轮廓。我还想把梦笑咪咪地做下去，我能做好吗?人生苦短，我的经历、学识、毅力、技能、感情，够吗?梦，是要做下去的”。

　　陈燮君

　　上海博物馆馆长

　　Let Heart Comprehend the Earth's Broadness

　　When appreciating Zhang’s paintings, we could comprehend the characteristics of her works; through these works, we could further understand how she captures the common but classic beauty, how to gradually approach the art realm of distinctive individuality, how to pursue the perception of walking on the earth, and how to construct the world of art in scientific means.

　　‘Capturing the common but classic beauty’ is the first characteristic. Zhang’s painting is unsophisticated, profound, confident, steadfast, vigorous, bold and unrestrained, forming a tranquil, comfortable, peaceful and spacious atmosphere of Chinese style.

　　Among Zhang’s works, profundity is a temperament, which originated from gratitude to the nature, awe to the history, comprehension of life, and sorting-out the experiences during the years. In this profundity, we could discern the painter’s inexorable pursuit for art, the multiple considerations about aesthetics, the arduous practice of creation, and the cultural accumulation of experiences. This profundity is a spontaneous result of the accumulated art experiences and the integrated culture and art, the ‘cultural revelation’ after walking through the mountains and the rivers, and the ‘inevitable consequence’ of overlapping and fusion of ink art. The art’s profundity goes beyond superficiality, approaches maturity, eulogizes plainness, and accentuates temperament. As a large-sized painting at the length of more than 3 meters, Prospect not only manifests its massiness with the huge size, but also presents the broadness of time and space, the glory of prospect, the solemnity of mood and the sobriety of pattern through the fertility of the earth, the endless delicate beauty of reed flowers, the vigorous vitality of flying birds, and the peaceful and refreshing close-up scenery. Though the size of Reed Flowers is not large, it still seems to be solemn and imposing, as the relations among black, white and grey reveal the basic elements of the painting, the unrestrained and profound lines support the time and space of art, the stretches of reed flowers show the emptiness, tranquility and peace, and the poetic application of brushwork symbolizes broadness and spectacularity. Plum Blossoms in Moonlight brings the viewers into such a scene: the quiet and deep night in the moonlight, the plain, heavy and unsophisticated mid-winter, the carefree and vigorous plum branches, and the energetic and flourishing plum blossoms. In Red Lotus, the painter uses limpid water to set off the lotus leaves’ exuberance and abundance, uses the lithe dragonflies to set off the lotus flowers’ profound beauty and purity, uses the left space to present the splendor and depth of years, and uses the relaxed and natural ink dots to carry on the work’s simple and unsophisticated beauty.

　　In Zhang’s works, simplicity and unsohpistication is a sort of magnificence, which originated from the refinement from the flourishing and exuberant arts, the experiences of the tranquil and remote life, the summary of the unsophisticated and straightforward aesthetics, and the revelation of the meaningful and powerful vision. Within the simplicity and unsohpistication, we may conceive the painter’s essential interpretation about art, the deep understanding about history, the discernment about life, and the confident and easy grasp of the painting. The simplicity and unsohpistication is an important aesthetic complementation after seeking for valiant charm, a cultural support to splendor and grace, an artistic foundation for profundity and serenity, and the return to trueness after pursuing the brilliant galaxy. In the work Wing to Wing, compared with the plain and lonely space, the lively ink color in the top uses the simple team pattern of 1, 3 and 2 to symbolize the vivacity and uniqueness of the matrix of life, uses the plain combinations of white lines to construct the artistic composition of reed flowers, and uses a little vermilion to slightly indicate the vitality cultivating the art work. The composition of In Full Bloom is neat and plain, but still upright and lofty; the colors are light and refreshing, but still splendid and brilliant; the lines are sparse and unrestrained, but still magnificent; the theme is carefree and wild, but still solemn and graceful. Blooming White Magnolia Denudata No. 1 shows the vigorous and spectacular pattern changes in the simple and unsophisticated full composition, accentuates the refreshing and peaceful magnolia denudate among the simple and clear lines, presents the unconventional and charming temperament inside the basic color tones of red, green and yellow, and embodies the graceful flowers in the sparse and candid treatment of specific details. In the work Wandering in the Woods, she blends the remote mountains into one integral whole, but we could still discern the ‘flat and distant’ spatial layers; she minimalizes the trees into a few ones, but we could still perceive the exuberant trees; she summarizes the colors into strong and light ocher, but we could still acknowledge the clear, sparkling and pure scene; she omits the details in the lower part of the painting to achieve the effect of ‘nothing better than something’, but we could still feel the profuse connotations.

　　In Zhang’s works, sunshine is a mood. Sunshine is the penetration of clouds; sunshine is the farewell to haze; we couldn’t intentionally pursue sunshine; we should enjoy sunshine to the utmost. We may discern, Zhang’s mood during the course of creation is always full of sunshine; most of Zhang’s works are sunny, bright, elegant, graceful, rhetoric, classic and refreshing. In the work Striving for Spring, we could see the vivacious spring scenery, the straightforward and bold steps of spring, the free, easy and meaningful information of spring, and the emotional and delicate awakening of spring. In the work Red Lily, we could comprehend the elegant and shimmering water, the sedate, clean and moist pleasure, the radiant and glowing demeanor, and the glorious and fascinating elegance and talent. In the work Red Fruit, there is the mutual interaction between red and green, the fusion of water and ink, the summoning of sunshine, and the guidance of righteousness. In the work Easiness and Freedom on the Wall, there is the indulgence towards the sun, the straightforward relaxation and candidness, the frank character, and the delightful amenity.

　　‘Gradually approaching the art realm of distinctive individuality’ is the second characteristic. After the baptism of years, the cultivation of heart, the practice of art and the experimentation of creation, Zhang’s works present increasingly more distinct personality, gradually form her style, and reveal progressively more elegant qualities.

　　Firstly, she integrates the Chinese with the western, and the light and color interact with each other. During her days in college, she extensively appreciated western paintings, quite familiar with the light-and-color interaction in the works of Van Gogh, Paul Cézanne and Henri Matisse. Van Gogh’s exciting application of colors bestowed unique vitality to light and color, changing the visual images in people’s naked eyes into expressive symbolic pictures with light and color interacting with each other. With an extraordinary strength in his oil painting, Paul Cézanne sometimes interwove some icons together to form an integral whole with light-and-color interacting with each other and color-and-pattern keeping in harmony. Henri Matisse pursued the perfect integration between themes and brilliant colors. He believed, beautiful color tones could only be obtained from independently extracting colors from themes and then transforming them into things the painter wanting to touch and feel, instead of being obtained from copying the nature. According to the concept of light-and-color interaction, he extended the largest range of colors’ expression through the means of filling, intensifying, relaxing, purifying, heating, cooling, and etc. As for ‘the integration between the Chinese and the western and the interaction between light and color’, Zhang once elaborated, ‘Many years of training of brushwork has endowed me with the techniques of Chinese painting, the acceptance of the western has endowed me with romantic art imagination, the seeds of conceptual liberation have been scattered in the fertile soil bestowed by the nature, and the traditions have obtained vigorous vitality. I like unsophisticated, elegant, powerful and passionate Chinese painting. I hope my paintings on wall would be original, unique, radiating joy and strength to the surroundings with the emotion and spirit inside the paintings.’ In the work Daffodils, the narcissus’ elegant, unique, vigorous, and delicate beauty actually benefits from the integration and interaction between light and color. In the work The Look of Spring, the fascinating, carefree, brilliant and also sedate beauty also benefits from the unique comprehension and the innovative application of light and color. In the work Green Waves in Lotus Pond, the painter uses simple, graceful and understated tones of light and color to reveal the white lotus flowers’ traits — containing energy and vigor inside its beauty and embodying straightforwardness and trueness with grace. In the work Rich and Colorful Mountain Fields, the painter uses the means of ink, light and color interacting with each other to depict the mountain field, refreshing, extensive and profound.

　　Secondly, the painter splashes ink, unrestrainedly expressing her feelings. Melody No. 2 is tranquil, graceful, moist, meaningful, profound, but also vigorous and powerful. Dyeing Green is delicate, gentle, carefree and willful. Brilliant Autumn in Mountain Field is powerful, distinct, munificent, vigorous and firm. Water Field and Ink Field No. 4 is exuberant, clear, endless and ingenious.

　　Thirdly, she applies flexible lines and peaceful atmosphere. With the demonstrations of her father and friends during her childhood, Zhang already knew about the beauty of ink lines, and understood the crucial position of lines in Chinese painting from the works created by painters of different dynasties in museums. In her creation of Chinese painting, she has taken full advantage of her flexible brushwork and extraordinary talent for countless times, and eventually achieves an admirable result. In the triptych Freehand Mountain Field, she draws the lines in a na?ve, indulgent, carefree, vigorous and unsophisticated way. In the work Bright Mirror, the lines are upon the water and the sky, the feelings are fused into the splashed ink. In the work Melody No.3, the lines are harmoniously dense and sparse, thick and light, seemingly elegant, serene, gentle, and refreshing. In the work Mountain Ridges and Ravines, the lines are profound, peculiar, magnificent, solemn and unsophisticated, presenting a flexible and tranquil style.

　　‘Pursuing the perception of walking on the earth’ is the third characteristic. Zhang loves the nature, and loves the feelings of walking on the earth. He footprints have spread from the picturesque Yellow Mountain to the Siming Mountain and the Yandang Mountain surrounded by clouds and mist and covered by blooming mountain flowers; from Jiangnan with green hills and clear rivers to Luoyang, the ancient capital of the culture of central plains (comprising the middle and lower reaches of the Yellow River); from Sinkiang, Tibet, the Yunnan-Guizhou Plateau, mountains in Shanxi and Shaanxi provinces in west China to Colorado, the Grand Canyon . . .’ ‘I go to more and more remote places, and my mind becomes increasingly more open. After climbing up the steep peak of the Tian Mountain, I surveyed the extensive and endless prairie; bathing in the hot air, I looked up at the mythical Flaming Mountain lying across the Gobi; climbing up the mysterious and spectacular Colorado, the Grand Canyon, I was stunned by the magnificent and peculiar precipices; in front of the relics of an ancient city, I stared at the scene marked by the ancient Chinese civilization and vicissitudes . . . The nature is magnificent, splendid, broad, and powerful.’ In Zhang’s Chinese paintings, she measures the extensive and truthful nature, seeks for and releases the ‘feelings of walking on the earth’.

　　With the unique insight of a painter, Zhang deciphers the nature and customs in west China, pays attention to the ‘traces of time and life’, ‘uses lines, ink blocks, light, melody, life, time and space to construct, polish, deconstruct and then reconstruct a new nature.’

　　In the work Expressing Feelings in a Journey to the West, the painter reveals her emotion, ‘In Shanxi, I perceive the majestic vigor of the Taihang Mountain, strengthening and encouraging me. However, I prefer the stretches of yellow earth unfolding up and down in the Loess Plateau, as the fertile, thick, seemingly gentle but actually tough yellow earth cultivates Chinese descendants one generation after another… In Yuanyang of Yunnan province, there was a stretch of silver light, and the terraced fields going straight to the sky, which really made me surprised and reverent… In Tibet, when walking between the immortal mountain and the sacred lake, the pure and beautiful natural scenes made me unable to grasp the paintbrush, and I began to seek for the beauty hidden in the daily life of Tibetan fellowmen… In Sinkiang, there were the endless wild fields, the Gobi, the prairie, and forever changing hills and trees. And the relics of the ancient city greatly shocked me. When walking among the relics, I could perceive the past splendor.’ In the west, she sought for the feeling of walking on the earth, which originated from the nature and the eternal ‘art works’ accidentally left by the ancestors; in the west, she captured the frank and unsophisticated beauty, which was ‘permanent among the special’; in the west, no longer wishing to climb to the peak of each mountain, no longer being obsessed with the details of the nature, she expected to comprehend the ‘righteousness and broadness of the Chinese nation’, and to eulogize the ‘perseverance and tenacity of life proved under the sunshine’.

　　The nature is not cold or indifferent, as long as you carefully taste it with your heart, you could discover endless beauty, magnificence and splendor. What’s more, with the painter’s refinement and summary, she artistically accentuates the visual impact, the emotion for the mountains and rivers and the cultural amazement before the viewers and readers. In the work Ode to Autumn Beauty, she applies sophisticated lines, brilliant autumn yellow and comprehensive composition to construct the Ode of Autumn that shines upon the Han and Wei Dynasties. In the work Green over Hilly Fields, she uses the unrestrained water colors and the dynamic ink dots to present the dark green hills and fields, expressing her feelings for the harmony between humankind and the nature. The work Blooming around Stones is a vivid depiction of the unique scene of flowers blooming along the stone cracks and turning the stones into a beautiful view in west China. Dazzling Earth unfolds a stretch of passionate and endlessly golden earth in front of us. The Summer in a Valley narrates the story of black tiles, white walls and the valley. Charm of Yellow Earth embodies the soul of the earth in west China and the unique rhythm. Loftiness eulogizes the majesty and splendor, Moonlight over the Mountains incorporates profundity and romance, Misty compliments the glittering translucency and delicacy, Numerous Mountains and Ravines eulogizes character’s strength and perseverance, and Light in a Valley expresses the painter’s feelings for the overlapping and undulate days and nights. Melody of the Nature attracts many viewers, as it’s meticulously composed in spite of its large size, the colors’ application is dazzling despite the main colors of black and white, the brushwork still follows the fixed standards despites its fluency, and the vision is still melodious despite being artistic. When carefully appreciating Zhang’s works, we may perceive Lhasa in spring, the flying wild geese in cool autumn, the floating reed flowers in the sky, the undulate green sea, the red earth and blooming flowers in the south of Yunnan, the impression of loess in the north of mountains, the reflection of the valleys, and the magnificent ancient city in Jiaohe.

　　In recent years, Zhang brings us to her art realm with great mountains and rivers. Representing the west China requires the spirit of daring to go west, the capability of grasping magnificence, the talent of manifesting broadness, and the calmness of boundless splendor in memory. We delightedly comprehend: the art discovery experienced through life seems to be more moving; the broadness of the earth represented by broad-minded talent seems to more indicate the integration of time and space; the huge mountain behind a woman painter seems be to be harmonious between the strong and the soft.

　　‘Constructing the world of art in scientific means’ is the fourth characteristic. Zhang reveals her great wisdom, being good at summarizing experiences, enhancing techniques into methods, promoting theoretical methods and methodology into the level of philosophy to be analyzed and refined, and constructing a realm of creation with scientific methods and artistic philosophy. Her art considerations are full of philosophy, such as, ‘I often look at myself from a stranger’s perspective’, ‘Watching a mountain could encourage myself… The mountains under my paintbrush are not mountains, but a sort of vigor, spirit, and a state of mind that I try to manifest ’, ‘ The general tone of Shanghai and the perception of artists’ life seem to lighten up’, ‘A painter always faces a piece of white paper’.

　　What a good point, ‘A painter always faces a piece of white paper’. Based on this, Zhang Leiping perseveringly said, ‘With the time elapsing, the epoch changing, the concepts innovating, and the vision being widened, my dream gradually shows its clear outline. I want to continue my dream with a smile, and could I manage to do that? Life is short, and are my experience, knowledge, willpower, skill and emotion enough? Dream, is surely to be continued.’

　　Chen Xiejun

　　Director of the Shanghai Museum

作者：陈燮君