書(shū)道，貴在技外存真，心境融通于筆墨之間。每一筆畫，皆如心之所寫，情之所發(fā)，字中氣象，非僅形跡流轉(zhuǎn)，實(shí)為胸中意境之映。筆隨心動(dòng)，墨因情生，雖技藝精湛，然氣韻深蘊(yùn)，文人內(nèi)涵與性情自見(jiàn)。有鄭和新者，翰墨縱橫，心手相契，風(fēng)骨暗藏，氣象自成，書(shū)道于此，方見(jiàn)其妙，藝?yán)砭哒谩?/p>

　　鄭和新，號(hào)東白山人，庚子歲生，自幼酷嗜翰墨。少年時(shí)，常獨(dú)坐庭院，竹影疏斜，握筆描古。墨香繚繞，天地靜謐，心與筆融，氣與境通。書(shū)道于他，非止技藝，乃心靈所棲，神志所寄。其天資早現(xiàn)，家中白墻青瓦，閑卷廢紙，皆為其修習(xí)之境。雖具天賦，然不敢稍懈，日夜執(zhí)筆，年年精進(jìn)，志求書(shū)道之真與極。及至弱冠，鄭和新運(yùn)筆如云，流暢自如，然知書(shū)道不止于技。遂遍訪名師，拜劉江、章祖安、陳振濂、祝遂之、金鑒才諸賢，虛懷以學(xué)，心力以研。諸師皆如燈塔，照其前途。劉江之謹(jǐn)嚴(yán)，章祖安之古樸，陳振濂之灑脫，祝遂之之深沉，金鑒才之雅致，皆融于鄭和新之筆端，遂成獨(dú)具風(fēng)貌之書(shū)藝，書(shū)界亦識(shí)其名。

　　鄭公五體皆精，楷書(shū)為最。魏晉隋唐無(wú)所不臨，心之所想，手之所追，皆有所得。精密嚴(yán)謹(jǐn)，纖細(xì)之中見(jiàn)力度。字形精工，體勢(shì)緊湊，平正有度，險(xiǎn)絕于微毫。筆走間不激不厲，心手相應(yīng)，靜中顯動(dòng)，簡(jiǎn)凈之筆，清雅自見(jiàn)。嘗譯諸典籍為華章，以楷書(shū)傳之，諸如《顏氏家訓(xùn)》《無(wú)量壽經(jīng)》《道德經(jīng)》卷帙浩繁，皆出其手。其篆書(shū)，沉穩(wěn)中藏古意，勁健中含流動(dòng)。取法秦漢，結(jié)體開(kāi)闊，如山川之勢(shì)，靜若磐石，動(dòng)若風(fēng)行。筆觸沉實(shí)，筋骨內(nèi)斂，方圓之度皆在腕下游走，俯仰之間，神氣自生。字形若金石刻痕，剛?cè)嵯酀?jì)，隱見(jiàn)鋒芒，古意渾然不露痕跡。遠(yuǎn)觀如岳峙，近賞如松柏交映，氣象恢弘，動(dòng)靜相融，雄渾處自有奇姿。然其隸書(shū)之法，承自漢碑，韻致舒展，取《石門》遺風(fēng)。字勢(shì)磅礴，筆畫從容，蠶頭之妙，燕尾之神，字字透氣，含而不露，蘊(yùn)而不發(fā)。再觀其行草，法度森嚴(yán)，而筆勢(shì)縱橫，恣意揮灑中自見(jiàn)規(guī)矩。字里行間，龍蛇競(jìng)走，氣象萬(wàn)千，起伏跌宕間，筆勢(shì)內(nèi)斂又不失縱情。觀者心生嘆服，余韻繞梁，久久不絕。

　　尤堪道者，鄭公《?！纷郑N(yùn)福澤幽遠(yuǎn)，意蘊(yùn)無(wú)窮。其右鋒隱出畫外，福祉綿延，廣布天地，不可盡窺。下五十六“福”字，婉轉(zhuǎn)遒勁，象兆五十六民族同歡，書(shū)法變化，如大化流轉(zhuǎn)，妙于無(wú)形。諸字并心愿，合于一卷，寓無(wú)盡期許，含而不露，化作壯闊鴻篇。

　　鄭公研習(xí)《般若波羅密多心經(jīng)》，深得妙旨，獨(dú)出機(jī)杼。天津人民美術(shù)出版社所刊《鄭和新心境》一集，百幅之作，諸體錯(cuò)落，或嚴(yán)謹(jǐn)，或?yàn)t灑，形意自成，遂引藝界多方稱賞。西泠印社亦鼎力相助，發(fā)《無(wú)量壽經(jīng)》與《金剛經(jīng)》書(shū)卷，廣布于世，反響深遠(yuǎn)。

　　其藝不僅技進(jìn)乎道，且寓禪意于毫端，令人嘆為觀止。夫佛者，眾生先覺(jué)之尊，人皆有佛性，然成佛之要，在于覺(jué)照自心，返璞歸真。鄭公深諳此理，故揮毫之際，心境平和，無(wú)欲無(wú)求，萬(wàn)念俱寂，唯余翰墨飄香，與天地精神相往來(lái)。鄭公每欲揮毫，必先臨古帖，與先賢神交，溯流而上，探書(shū)法之淵源。及至心有所感，則焚香靜氣，盤膝而坐，閉目養(yǎng)神，使心神歸于寧?kù)o之域。尤工佛經(jīng)書(shū)法，每書(shū)一偈，必身心俱入，與經(jīng)文之意境合而為一。世人皆言：“觀鄭公之書(shū)，如沐春風(fēng)，如飲甘露，心靈得以洗滌，塵念得以消除。”鄭公以書(shū)傳佛，以墨寫心，其藝之高，其德之厚，觀者同悟其道，心靈得以凈化，共證菩提之果。

　　彼時(shí)，九旬名家邵大箴，亦贊其“法古而開(kāi)今”，謂其筆力醇厚，氣象宏大，承續(xù)古意而不失新韻。此中深意，不盡言表，謂其書(shū)功已然自立高峰，隱有獨(dú)步當(dāng)世之象。

　　鄭公性行仁慈更值稱贊，其與人為善，于同仁之中，團(tuán)結(jié)無(wú)間，如磁石之相吸，共謀藝道之精進(jìn)。廉潔自律，清風(fēng)徐來(lái)，無(wú)染塵埃，作風(fēng)正派，光明磊落，猶皓月當(dāng)空，照人肝膽。鄭公心懷天下，憂民之憂，樂(lè)民之樂(lè)。每念及貧困學(xué)子，輟學(xué)之虞，輒惻然心傷，慷慨解囊，心念寒門亦能出貴子，助其渡過(guò)難關(guān)。及至天災(zāi)人禍，四川雅安地震，蒼生蒙難，君心甚痛。遂倡議東陽(yáng)書(shū)畫界同仁，捐贈(zèng)佳作，以藝會(huì)友，更以義賣之資，濟(jì)困扶危，解民倒懸之急。此舉大義凜然，聞?wù)邿o(wú)不動(dòng)容。

　　嗟乎!經(jīng)四十余載不懈，鄭公創(chuàng)辦書(shū)畫學(xué)堂，授學(xué)解惑，將心得盡付后人。薪火傳承，其子承之，東壹堂三校已立，二孫早啟蒙墨海，書(shū)脈相承。鄭公以書(shū)法名世，樹(shù)其為人之德、為藝之精、為學(xué)之勤、為教之善，年屆花甲，辛丑年致仕，然翰墨心猶存，京城榮寶齋設(shè)室，靜心守藝，淡泊之間，更尋翰墨高境。

 

　　鄭 和 新

　　藝/術(shù)/簡(jiǎn)/介

　　鄭和新現(xiàn)為中國(guó)東方文化研究會(huì)藝術(shù)專業(yè)委員會(huì)高級(jí)顧問(wèn)，中國(guó)書(shū)法家協(xié)會(huì)會(huì)員，中國(guó)傳統(tǒng)文化促進(jìn)會(huì)會(huì)員，中國(guó)楹聯(lián)學(xué)會(huì)會(huì)員。浙江省高級(jí)職稱研究館員，國(guó)際藝術(shù)名家，國(guó)家一級(jí)書(shū)法師，湖社社員，浙江省傳統(tǒng)文化促進(jìn)會(huì)副會(huì)長(zhǎng)，浙江省書(shū)法教育委員會(huì)委員，金華市群文系列高級(jí)職稱評(píng)委，金華市書(shū)協(xié)理論委員會(huì)委員。原東陽(yáng)市書(shū)協(xié)副主席、東陽(yáng)市拔尖人才、東陽(yáng)市書(shū)畫院院長(zhǎng)、首任東陽(yáng)市美術(shù)館館長(zhǎng)。亞州國(guó)際青年電影節(jié)評(píng)審團(tuán)主席，文化中國(guó)傳播大使，中國(guó)書(shū)畫家聯(lián)誼會(huì)新工委會(huì)副秘書(shū)長(zhǎng)。

　　Zheng Hexin: Ink Bones Infused with Elegance, Born of Natural Grace

　　Calligraphy, at its core, lies in expressing truth beyond technique, where the heart and mind are harmonized within the strokes of ink. Every stroke reflects the heart’s will and the soul’s emotions; the forms themselves are not merely external movements, but a reflection of the inner landscape. The brush moves with the heart, and the ink flows with feeling. Though mastery of skill is essential, it is the depth of spirit that gives meaning. In Zheng Hexin’s work, the boldness of his strokes and the harmony of his hand and mind reveal an inherent elegance. His artistry reflects both form and essence, and in this unity, his mastery of calligraphy becomes evident, illustrating the truth of his craft.

　　Zheng Hexin, styled Dongbai Shanren, was born in the year of Gengzi. From an early age, he had a deep passion for calligraphy and ink. As a youth, he often sat alone in the courtyard, under the shifting shadows of bamboo, brush in hand, copying ancient texts. The fragrance of ink filled the air, the world was quiet, and his heart merged with the brush, while his spirit resonated with his surroundings. To him, calligraphy was not merely a skill but a sanctuary for the soul, a place for the spirit to dwell. His talent emerged early, and even the white walls and discarded paper in his home became the settings for his practice. Despite his natural talent, he was never complacent, tirelessly honing his craft day and night, year after year, seeking the true essence and ultimate heights of calligraphy. By the time he reached adulthood, Zheng Hexin wielded his brush with ease, his strokes as fluid as clouds, yet he knew that true mastery of calligraphy transcended mere technique. Thus, he sought out famous masters, learning from luminaries such as Liu Jiang, Zhang Zu'an, Chen Zhenlian, Zhu Suizhi, and Jin Jiancai. With an open heart, he pursued his studies with unwavering dedication. Each mentor, like a guiding beacon, illuminated his path. Liu Jiang’s rigor, Zhang Zu'an’s ancient simplicity, Chen Zhenlian’s freedom, Zhu Suizhi’s depth, and Jin Jiancai’s elegance all became part of Zheng’s style, forming a distinctive calligraphic voice, one that the calligraphy world soon recognized.

　　Master Zheng excelled in all five script styles, with particular mastery in regular script. He studied every classical work from the Wei, Jin, Sui, and Tang dynasties, and what his heart sought, his hand achieved. His calligraphy is meticulous and precise, demonstrating strength within the delicate details. His characters are carefully crafted, tightly composed, balanced, and well-measured, exhibiting extraordinary control even in the smallest details. As his brush moves, it is neither too forceful nor too subdued, perfectly attuned to his inner intentions, showing movement within stillness. His simplicity of strokes reveals an inherent elegance. Zheng has transcribed many classical texts in regular script, transforming them into masterpieces, including "Yan Family Instructions," the "Infinite Life Sutra," and the "Tao Te Ching," among others. His seal script is imbued with ancient meaning, combining solidity with fluidity. Drawing upon the traditions of the Qin and Han dynasties, his compositions are expansive, resembling the grandeur of mountains and rivers. The brushstrokes are steady, with an understated strength, as his control of the circular and square forms is deftly managed by his wrist. Within these dynamics, a natural spirit arises. His characters resemble carvings in stone, where strength meets subtlety, and hidden sharpness emerges without overt display. Viewed from afar, they stand like towering peaks; up close, they intertwine like ancient pines, exuding a majestic and harmonious atmosphere. His work is robust yet contains elegance, showcasing unique charm amidst its power.

　　As for his clerical script, Zheng Hexin draws upon the legacy of the Han dynasty’s stone inscriptions, with graceful and expansive movements, reflecting the tradition of the Shimen (Stone Gate). His characters possess grand momentum, and his strokes are measured and unhurried, demonstrating mastery of the "silkworm head" and "swallow tail" techniques. Each stroke breathes with life, restrained yet poised, hidden yet powerful.

　　Turning to his running script, the strict observance of rules contrasts with the freedom of his sweeping strokes. Within the seemingly unrestrained flow, structure is ever-present. Each character, like dragons and serpents in motion, bursts with energy, and within the rise and fall of the brushstrokes, controlled exuberance is evident. Observers are left in awe, the lingering aftertaste of his art remaining long after the initial impression, echoing in their hearts with an unending resonance.

　　It is especially worth mentioning Zheng Gong’s calligraphy of the character “Fu” (福), which embodies a profound and endless blessing. The right stroke subtly extends beyond the paper, representing blessings that stretch across the heavens and earth, beyond what can be seen. Beneath this character lie fifty-six iterations of “Fu,” each vigorous and graceful, symbolizing the harmonious unity of China's fifty-six ethnic groups. The variations in his script flow like the great natural order, elegant in its formlessness. These characters, infused with his heartfelt wishes, converge in one scroll, containing infinite hope, understated yet grand, forming a magnificent work of boundless aspiration.

　　Zheng Gong studied the Prajnaparamita Heart Sutra with great devotion, extracting its profound meaning and developing an original approach. In the collection Zheng Hexin's Mind and State published by Tianjin People's Fine Arts Publishing House, one hundred works of diverse script styles are featured, ranging from meticulous to free-spirited, with forms and expressions uniquely his own. These works earned widespread acclaim in the art world. The Xiling Seal Society also supported his efforts, distributing his calligraphic renditions of the Infinite Life Sutra and the Diamond Sutra, spreading them far and wide with lasting impact.

　　Zheng’s artistry transcends technique, imbuing each stroke with Zen wisdom, leaving viewers in awe. The Buddha is revered as the awakened one among all beings, and though all possess Buddha-nature, enlightenment lies in illuminating one’s own heart and returning to simplicity. Zheng Gong deeply understands this, and so, when he wields his brush, his mind is tranquil, free of desires, with all thoughts stilled, leaving only the fragrance of ink to commune with the spirit of heaven and earth. Before each writing session, Zheng Gong first studies ancient calligraphic models, conversing with the sages, tracing the origins of calligraphy. When inspiration strikes, he lights incense, calms his mind, and sits cross-legged in meditation, allowing his mind to settle in a peaceful state. He excels in Buddhist scripture calligraphy, and whenever he writes a verse, he fully immerses both body and soul, becoming one with the text’s spiritual essence. As the world says, “To view Zheng Gong’s calligraphy is like bathing in a spring breeze or drinking sweet nectar; it cleanses the soul and dispels worldly distractions.” Zheng Gong uses his calligraphy to convey the teachings of Buddhism, writing with his heart. His artistry and virtue are both lofty, and those who behold his work attain a deeper understanding, with their spirits cleansed, sharing in the fruits of enlightenment.

　　At the time, the ninety-year-old master Shao Dazhen also praised Zheng’s work, saying it "follows the ancient yet opens new paths," and lauded his rich brushwork and grand vision, inheriting ancient traditions while maintaining fresh vitality. This profound meaning cannot be fully captured in words, as his calligraphy has reached such heights that he now stands alone in his mastery, hinting at unparalleled accomplishment in his era.

　　Zheng Gong's kindness and virtue are equally worthy of praise. He treats others with compassion, uniting his peers like a magnet draws iron, working together in the pursuit of artistic excellence. He lives with integrity, as pure as a gentle breeze, free from worldly taints. His upright conduct is as clear as the moon in the sky, illuminating the hearts of those around him. Zheng Gong cares deeply for society, sharing in the people's joys and sorrows. Whenever he thinks of impoverished students who are at risk of dropping out, his heart aches, and he generously offers financial support, hoping that even students from poor families can rise to greatness. When disasters strike, such as the earthquake in Ya’an, Sichuan, which brought immense suffering, Zheng’s heart was filled with sorrow. He initiated a movement among his peers in the Dongyang calligraphy and painting community, donating artworks to raise funds for disaster relief. His righteous actions moved all who heard of them.

　　Alas! After over forty years of dedication, Zheng Gong established a calligraphy and painting academy, where he imparts his knowledge and answers students' questions, ensuring the passing down of his wisdom to future generations. The torch of his legacy is carried on by his descendants: three schools under the name Dong Yi Tang have been founded, and his two grandchildren have already begun their journey into the ocean of ink. His lineage in calligraphy continues uninterrupted. Zheng Gong’s reputation in calligraphy rests not only on his artistic skill but also on his virtuous conduct, his diligence in learning, and his excellence in teaching. Now, at the age of sixty, having retired in the year of Xin Chou, he still holds calligraphy close to his heart. In Beijing’s Rongbaozhai studio, he quietly pursues the heights of the art, seeking ever higher realms of calligraphy in his peaceful life.

　　Zheng Hexin: Artistic Profile

　　Zheng Hexin currently serves as Senior Advisor for the Arts Professional Committee of the China Oriental Culture Research Association. He is a member of the China Calligraphers Association, the China Traditional Culture Promotion Association, and the Chinese Couplet Society. He holds the senior title of research librarian in Zhejiang Province, is recognized as an international art master, a national first-class calligrapher, and a member of the Huxian Society. Zheng also serves as Vice President of the Zhejiang Provincial Traditional Culture Promotion Association, a member of the Zhejiang Provincial Calligraphy Education Committee, and a senior title reviewer for the cultural series in Jinhua City. He is a member of the Theory Committee of the Jinhua Calligraphers Association, and formerly served as Vice Chairman of the Dongyang Calligraphers Association, a leading talent in Dongyang City, Director of the Dongyang Painting and Calligraphy Academy, and the founding Director of the Dongyang Art Museum. Additionally, Zheng is the Chairman of the Jury for the Asian International Youth Film Festival, a Cultural China Ambassador, and Deputy Secretary-General of the New Committee of the China Calligraphers and Painters Association.