去年，得机会到他家里看画，是一批油画和水彩。看过后，作品并没有给我以“别开生面”的感觉，大概是因为以前看多了他的铜版画，所以，再看油画、水彩也看得习惯，也感觉亲切。但凡看过他的版画作品的人，没有不为其画面上洋溢出来的那种浓郁的气韵所感染。那明显的是一种中国传统山水画里的“气韵”，并且，相当的纯粹。但纯粹也只在“气韵”上，却不在语汇上。可以说，只有对中国文化充满感情并有所研究的人，才能够懂得美学意义上的“气韵”的奥妙。无论是哪一种绘画形式，都源自于他的心，在这里，他只因“言犹未尽”的吧，故而才这样“说”，那样“说”。
　　世上万事万物终归都有平衡，而他是一个解决平衡的能手：他善于从平衡中找出不平衡，也善于从不平衡中找出平衡。这可能与他的思想的不平静有关，因为他有太多的提问。
　　生长于“小桥流水人家”，却也锺情于“长河落日”和“大漠孤烟”。这是在他内心里自然就存在的“抵牾”，于是，他将人性中柔弱的那部分推开，而让刚毅、粗犷借大山大水释放；栖身闹市，却能在心里保留一道“空谷”；抒情慢板里也似乎藏匿着寒风呼啸。他实在是在寻找着各种的“元素”，为了滋养精神追求方面的不足，大约也有性格上的某些缺失吧？读古画、背旧诗，自然容易感悟到“意气”、“心境”、“意境”、“气质”（古人造就的是“谜”，我们只有解的份，再不可能一样的去造就，哪怕摹拟也不行），但如果没有像他这样的“换位”体验，总是难得大气的。
　　他创造了属于他自己的那种抽象，又是既有东方文化特色的那种，凭借它，表达着不尽的觉悟与热望。他有了一把开启自然和心灵大门的“钥匙”，他便获得了表现的大自由，这正是艺术家孜孜以求的最佳的境遇，因此，张岚军得大幸、享大乐，令人钦羡！

The Enviable Zhang Lanjun
　　Guang Jun
　　professor, China Central Academy of Fine Arts
　　Last year Zhang Lanjun invited me to his home to enjoy his new works----oil and watercolor paintings. They didn誸 strike me as "entirely new"; perhaps my familiarity with his copperplate engravings gave me such a dj-vu experience and a feeling of closeness. Whoever sees his engravings feels on the tableau the rich flavor permeating, a "flavor" akin to the one in traditional Chinese landscape paintings, a pure "flavor". Though pure in "flavor", they are distinctive in vocabulary from the traditional Chinese landscape paintings. Only can he who is emotionally attached to and intellectually conscious of the Chinese culture understand aesthetically the subtle implication of "flavor". Whatever the genre, he paints out of his heart, so "pregnant" that he has to employ different genres to express himself.
　　All things in the universe are eventually subject to balance, and he is a good hand at acquiring balance: to seek imbalance out of balance and balance out of imbalance. This may have something to do with his probing mind: he is always inquiring, always searching for an answer.
　　Brought up at a "place of rivers and bridges"----the riverside land south of the Yangtze, he shows an equal love for "the sunset on the Yellow River" and "solitary beacon above the boundless desert"----the vast area beyond the Great Wall. This is the natural coexistence of "conflict (the gentle and the bold)" in his mind: he pushes away the gentler part of his self and unfetters his bold part through high mountains and long rivers; he retains a "deep valley (a serene state of mind)" inside in the clamor of city life; there lurks in the lyrical lento the whistling wind. He is looking for various "elements" for artistic nourishment and character cultivation. Admiring ancient paintings and reciting classic poems naturally enable one to feel with such culturally loaded words as "will and spirit", "frame of mind", "artistic ambience", and "temperament" (those subtle words hard for us to interpret, harder to create or imitate). Still, one is far away from greater artistic attainments, if, unlike Zhang Lanjun, unable to go through an experience of "transposition".
　　He has created a unique style of abstraction with Chinese characteristics as a vehicle for the expression of what he feels and anticipates. With such a "key" to unlock the mystery of nature and human soul, he has reached an enviable artistic height others strive for, namely, the great freedom of expression.