（海魂系列导语：）
2008年以来，张新权的油画创作转向了我国早期的战舰题材，其作品的语言图式也随之变化。画面早期的满构图往往被特写的“镜头”所取代，色彩也更趋向单纯，多用原色，空白的面积加大，在看似随意性的动静、虚实组合中，掺入了构成因素。这些作品充分说明，张新权在看似自由、随性的涂抹中，善于呈现他匠心独运的构思，展示出他对油画艺术的当代性敏锐而独特到的理解和认知。
邵大箴 2011 SEA SOUL SERIES
Since 2008, Zhang has switched his topics to the warships in the earlier times. His artistic language has changed accordingly – with the heavy composition replaced by featured “scenes”, the colors becoming purer or even primitive, more blankness appearing and structure added to the status of being dynamic and static or being true and false. These works prove well that with his seemingly free and random strokes, Zhang has presented his original conception and his keen and unique knowledge and cognition of the modernity of oil painting.
By Shao Dazhen 2011
（都市系列导语：）
在都市题材的表现中，张新权对画面形象的塑造充满了节奏感和音乐感，他并不拘泥于真实的历史风貌，画面也越来越主观。他把上世纪初工业化时代欧美都市风景的视觉符号都引入了画面，并且做出了视觉上的重新解读，我们可以把他的作品看成是一个当今的艺术家对都市历史的感喟和怀恋。而那些被概念化了的都市风貌，正在他全新的系列作品中被梦想幻化、融合，进而成为一种颇为异样的视觉奇观。
李旭2007
CITYSCAPE SERIES
In his Cityscape series, the images are rhythmic and musical. He is not confined to the historical scene itself, but expresses it more subjectively. He brings many visual symbols of the occidental cityscape of the last century into his works and reinterprets them visually. We can regard his works as the sentiment of and yearning for the history of the cities of a modern artist. The conceptualized cityscape is miraculously transformed and fused into a peculiar visual spectacle in his new series. By Li Xu 2007
（园林系列导语）
苏州园林景观代表我们民族文化审美意识、审美理想、甚至民族文化的精神。张新权的园林作品有种潜在的叙事性非常有意思，正因为有这样一种叙事性表达，所以他的作品让我们感觉到有丰富的历史提炼，他能引起大家浓厚的兴趣，能够站在他作品面前长久观看，这是一个主要的原因。他有这种本领，能够把时间表达融进历史记忆中，让我们深切感受到历史厚重感和历史质量感，我觉得能够做到这一点，必须有艺术家对时代生活、历史感受融入他的画面。至少他能让我在他作品前引起对这个问题的思考，并由此想到生命流失是每个人必须经历、必须面对的，这就是他作品的深刻性。
皮道坚 2011
The landscape of the classical gardens of Suzhou represents our national aesthetic consciousness, aesthetic ideal or even spirit. The potential narrativity of Zhang’s works about gardens is significant. It is the narrativity that endows his works with rich sense of history. That’s also why we are intrigued to stand long in front of his works and observe them carefully. He is able to blend the expression of time with historical memories, so we can deeply feel the massiveness and quality of history. I think the artist needs to integrate his experience of life and history into his works for this. At least, his works propel me to reflect on this question and realize everyone will experience and face the loss of life. That’s exactly the profundity of his works.
By Pi Daojian 2011
(风景系列导语：)
张新权的风景画在风格上十分成熟，很有学院风范。中国油画在风景题材上的表达，在很长时间内是写实主义的，客观叙事的比较普遍。从而使风景画只有题材性而无主题性，主要问题是缺少主体对风景客体的独特感受和理解。在语言上以自然为取法比较多，艺术家的主观精神少。张新权的风景艺术是属于新一代风景表达型的，他在艺术上的特征是注重自己对风景的独特意识，同时追求语言本身的独立价值和地位。
邓平祥 2007
The landscapes of Zhang are quite mature and academic in style. Chinese landscapes, over the years, are realistic and narrative at large. There are subjects, rather than themes in them, which is probably due to the lack of unique perception and comprehension of sceneries of artists, who tend to focus more on nature itself than their own subjective perception. The landscape of Zhang, however, has a new style of expression. His artistic feature lies in his unique understanding of landscape and pursuit of the independent value and status of his artistic vocabulary.
By Deng Pingxiang 2007