书道，贵在技外存真，心境融通于笔墨之间。每一笔画，皆如心之所写，情之所发，字中气象，非仅形迹流转，实为胸中意境之映。笔随心动，墨因情生，虽技艺精湛，然气韵深蕴，文人内涵与性情自见。有郑和新者，翰墨纵横，心手相契，风骨暗藏，气象自成，书道于此，方见其妙，艺理具彰。
郑和新，号东白山人，庚子岁生，自幼酷嗜翰墨。少年时，常独坐庭院，竹影疏斜，握笔描古。墨香缭绕，天地静谧，心与笔融，气与境通。书道于他，非止技艺，乃心灵所栖，神志所寄。其天资早现，家中白墙青瓦，闲卷废纸，皆为其修习之境。虽具天赋，然不敢稍懈，日夜执笔，年年精进，志求书道之真与极。及至弱冠，郑和新运笔如云，流畅自如，然知书道不止于技。遂遍访名师，拜刘江、章祖安、陈振濂、祝遂之、金鉴才诸贤，虚怀以学，心力以研。诸师皆如灯塔，照其前途。刘江之谨严，章祖安之古朴，陈振濂之洒脱，祝遂之之深沉，金鉴才之雅致，皆融于郑和新之笔端，遂成独具风貌之书艺，书界亦识其名。
郑公五体皆精，楷书为最。魏晋隋唐无所不临，心之所想，手之所追，皆有所得。精密严谨，纤细之中见力度。字形精工，体势紧凑，平正有度，险绝于微毫。笔走间不激不厉，心手相应，静中显动，简净之笔，清雅自见。尝译诸典籍为华章，以楷书传之，诸如《颜氏家训》《无量寿经》《道德经》卷帙浩繁，皆出其手。其篆书，沉稳中藏古意，劲健中含流动。取法秦汉，结体开阔，如山川之势，静若磐石，动若风行。笔触沉实，筋骨内敛，方圆之度皆在腕下游走，俯仰之间，神气自生。字形若金石刻痕，刚柔相济，隐见锋芒，古意浑然不露痕迹。远观如岳峙，近赏如松柏交映，气象恢弘，动静相融，雄浑处自有奇姿。然其隶书之法，承自汉碑，韵致舒展，取《石门》遗风。字势磅礴，笔画从容，蚕头之妙，燕尾之神，字字透气，含而不露，蕴而不发。再观其行草，法度森严，而笔势纵横，恣意挥洒中自见规矩。字里行间，龙蛇竞走，气象万千，起伏跌宕间，笔势内敛又不失纵情。观者心生叹服，余韵绕梁，久久不绝。
尤堪道者，郑公《福》字，蕴福泽幽远，意蕴无穷。其右锋隐出画外，福祉绵延，广布天地，不可尽窥。下五十六“福”字，婉转遒劲，象兆五十六民族同欢，书法变化，如大化流转，妙于无形。诸字并心愿，合于一卷，寓无尽期许，含而不露，化作壮阔鸿篇。
郑公研习《般若波罗密多心经》，深得妙旨，独出机杼。天津人民美术出版社所刊《郑和新心境》一集，百幅之作，诸体错落，或严谨，或潇洒，形意自成，遂引艺界多方称赏。西泠印社亦鼎力相助，发《无量寿经》与《金刚经》书卷，广布于世，反响深远。
其艺不仅技进乎道，且寓禅意于毫端，令人叹为观止。夫佛者，众生先觉之尊，人皆有佛性，然成佛之要，在于觉照自心，返璞归真。郑公深谙此理，故挥毫之际，心境平和，无欲无求，万念俱寂，唯余翰墨飘香，与天地精神相往来。郑公每欲挥毫，必先临古帖，与先贤神交，溯流而上，探书法之渊源。及至心有所感，则焚香静气，盘膝而坐，闭目养神，使心神归于宁静之域。尤工佛经书法，每书一偈，必身心俱入，与经文之意境合而为一。世人皆言：“观郑公之书，如沐春风，如饮甘露，心灵得以洗涤，尘念得以消除。”郑公以书传佛，以墨写心，其艺之高，其德之厚，观者同悟其道，心灵得以净化，共证菩提之果。
彼时，九旬名家邵大箴，亦赞其“法古而开今”，谓其笔力醇厚，气象宏大，承续古意而不失新韵。此中深意，不尽言表，谓其书功已然自立高峰，隐有独步当世之象。
郑公性行仁慈更值称赞，其与人为善，于同仁之中，团结无间，如磁石之相吸，共谋艺道之精进。廉洁自律，清风徐来，无染尘埃，作风正派，光明磊落，犹皓月当空，照人肝胆。郑公心怀天下，忧民之忧，乐民之乐。每念及贫困学子，辍学之虞，辄恻然心伤，慷慨解囊，心念寒门亦能出贵子，助其渡过难关。及至天灾人祸，四川雅安地震，苍生蒙难，君心甚痛。遂倡议东阳书画界同仁，捐赠佳作，以艺会友，更以义卖之资，济困扶危，解民倒悬之急。此举大义凛然，闻者无不动容。
嗟乎!经四十余载不懈，郑公创办书画学堂，授学解惑，将心得尽付后人。薪火传承，其子承之，东壹堂三校已立，二孙早启蒙墨海，书脉相承。郑公以书法名世，树其为人之德、为艺之精、为学之勤、为教之善，年届花甲，辛丑年致仕，然翰墨心犹存，京城荣宝斋设室，静心守艺，淡泊之间，更寻翰墨高境。
郑 和 新艺/术/简/介
郑和新现为中国东方文化研究会艺术专业委员会高级顾问，中国书法家协会会员，中国传统文化促进会会员，中国楹联学会会员。浙江省高级职称研究馆员，国际艺术名家，国家一级书法师，湖社社员，浙江省传统文化促进会副会长，浙江省书法教育委员会委员，金华市群文系列高级职称评委，金华市书协理论委员会委员。原东阳市书协副主席、东阳市拔尖人才、东阳市书画院院长、首任东阳市美术馆馆长。亚州国际青年电影节评审团主席，文化中国传播大使，中国书画家联谊会新工委会副秘书长。
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 everyical 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 manyical 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.
