（海魂系列導語：）
2008年以來，張新權的油畫創作轉向了我國早期的戰艦題材，其作品的語言圖式也隨之變化。畫面早期的滿構圖往往被特寫的“鏡頭”所取代，色彩也更趨向單純，多用原色，空白的面積加大，在看似隨意性的動靜、虛實組合中，摻入了構成因素。這些作品充分説明，張新權在看似自由、隨性的塗抹中，善於呈現他匠心獨運的構思，展示出他對油畫藝術的當代性敏銳而獨特到的理解和認知。
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
（都市系列導語：）
在都市題材的表現中，張新權對畫面形象的塑造充滿了節奏感和音樂感，他並不拘泥于真實的歷史風貌，畫面也越來越主觀。他把上世紀初工業化時代歐美都市風景的視覺符號都引入了畫面，並且做出了視覺上的重新解讀，我們可以把他的作品看成是一個當今的藝術家對都市歷史的感喟和懷戀。而那些被概念化了的都市風貌，正在他全新的系列作品中被夢想幻化、融合，進而成為一種頗為異樣的視覺奇觀。
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
（園林系列導語）
蘇州園林景觀代表我們民族文化審美意識、審美理想、甚至民族文化的精神。張新權的園林作品有種潛在的敘事性非常有意思，正因為有這樣一種敘事性表達，所以他的作品讓我們感覺到有豐富的歷史提煉，他能引起大家濃厚的興趣，能夠站在他作品面前長久觀看，這是一個主要的原因。他有這種本領，能夠把時間表達融進歷史記憶中，讓我們深切感受到歷史厚重感和歷史品質感，我覺得能夠做到這一點，必須有藝術家對時代生活、歷史感受融入他的畫面。至少他能讓我在他作品前引起對這個問題的思考，並由此想到生命流失是每個人必須經歷、必須面對的，這就是他作品的深刻性。
皮道堅 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
(風景系列導語：)
張新權的風景畫在風格上十分成熟，很有學院風範。中國油畫在風景題材上的表達，在很長時間內是寫實主義的，客觀敘事的比較普遍。從而使風景畫只有題材性而無主題性，主要問題是缺少主體對風景客體的獨特感受和理解。在語言上以自然為取法比較多，藝術家的主觀精神少。張新權的風景藝術是屬於新一代風景表達型的，他在藝術上的特徵是注重自己對風景的獨特意識，同時追求語言本身的獨立價值和地位。
鄧平祥 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