张星幼承家教,五岁开始临池。先学颜鲁公、柳公权,后习汉隶、行草,寒暑不辍,为日后的绘画艺术打下了坚实的基础。大学期间系统研习米芾、王铎、黄庭坚,进一步临写篆隶,尤喜石鼓文、石门颂、石门铭、好大王、钟鼎等诸多碑帖。奋发求进,潜心修炼,在学习古碑的同时,对近现代大家作品亦多有研究,博采众长。观其作书一鼓作气,气脉相连,神意贯通,如同音乐的旋律、节奏的运用,或高或低,或强或弱,或勃然轰鸣,或逶迤曲折,总有一股成于中而形于外的精神力量所在。其书风豪迈朴茂、大气古拙,与基一齐头并进。张星的大写意金石派画风的形成,最为重要的原因是他能用三十多年的书法之功入画。他常说,“书法是中 Zhang Xing young Cheng tutor, at the age of five Pro Linchi. Yan Lugar, Liu Gongquan, Han Li, grass, summer and winter stop, for the future of painting art has laid a solid foundation. During the university system study meters 芾, Wang Duo, Huang Tingjian, to further write Zhuanli, especially in the stone drum Man, Shihmen Ode to Shimen Ming, a good king, Zhong Ding and many other rubbings. Efforts to seek progress, devote themselves to practice, while studying the ancient monument, the works of modern people also have more research, absorbing. There is always something in and out of the book, such as melody and rhythm of music, high or low, strong or weak, or roaring, or twists and turns Spiritual strength lies. Its book style Hao Mao Mao, the atmosphere of ancient clumsy, go hand in hand with the base. The most important reason for the formation of Zhang Xing’s epigraphic epigraphy is that he can use thirty years of calligraphic work to paint. He often said, "Calligraphy is medium