錢國丹

鄭放鳴是溫州樂清人。樂清多木雕藝人，我們到那里隨便一轉(zhuǎn)，幾乎每個(gè)屋檐下、每個(gè)窗口，都坐著系著圍裙、全神貫注創(chuàng)作的雕匠，世世代代，木雕是他們賴以生存的手段。

黃楊木雕始創(chuàng)于宋、元，流行于明、清。古語云：千年難長黃楊木。黃楊木因?yàn)樯L緩慢，注定它的質(zhì)地堅(jiān)韌，紋理細(xì)密。因?yàn)樗捕冗m中，是上佳的立體雕材料。更可喜的是，它色如象牙，精雕細(xì)琢出來的作品盡顯貴氣，收藏越久，色澤越深，更顯古樸和雍容。

樂清黃楊木雕人才輩出，他們的作品屢屢獲獎(jiǎng)，不少佳作都登上了國家博物館、北京人民大會(huì)堂等大雅之堂。2006年，樂清黃楊木雕被列入首批國家級(jí)非物質(zhì)文化遺產(chǎn)保護(hù)名錄。

鄭放鳴出生于藝術(shù)世家。她爺爺鄭子靜畢業(yè)于上世紀(jì)二十年代蔡元培任校長的上海音樂學(xué)院。因?yàn)樯?jì)，子靜先生后來當(dāng)了老師，但他對(duì)管弦樂的追求癡心不改。1957年中央歌舞團(tuán)在樂清演出，知根知底的朋友請(qǐng)他上臺(tái)表演揚(yáng)琴獨(dú)奏，一曲《雨打芭蕉》終了，全場為之傾倒，掌聲經(jīng)久不息。

鄭放鳴的父親鄭體衡是黃楊木雕的領(lǐng)軍人物，他的黃楊組雕《槐蔭結(jié)合》，早在1957年就登上了《美術(shù)》雜志。上世紀(jì)六七十年代，鄭體衡潛心創(chuàng)辦了樂清黃楊木雕廠和樂清石雕廠，并為此付出了畢生精力，培養(yǎng)了大批雕刻藝術(shù)人才。

鄭放鳴牙牙學(xué)語時(shí)，就在一尊尊、一座座藝術(shù)雕品中蹣跚穿行。耳濡目染，她14歲就拿起了雕刀鑿子，開始雕刻生涯。日復(fù)一日年復(fù)一年，右胸磨出了多厚老繭，雙手流了多少鮮血，只有鄭放鳴自己心里有數(shù)。功夫不負(fù)苦心人。剛過自立之年的她，就取得了驕人的成績，她的作品被許多人看好，并銷往海內(nèi)外。

數(shù)十年來，鄭放鳴在藝術(shù)路上艱辛跋涉，她的工匠精神和創(chuàng)新思維相輔相成，齊頭并進(jìn)。鄭放鳴緊跟時(shí)代脈搏，敏感地捕捉新鮮事物，及時(shí)雕刻出精妙的新作來。我國首位女航天員上天，鄭放鳴興奮之余，就聯(lián)想到古老的嫦娥奔月故事。于是她萌發(fā)了創(chuàng)作《探月》的念頭。她繼承了傳統(tǒng)敦煌壁畫的優(yōu)勢(shì)，用現(xiàn)代的表現(xiàn)手法，構(gòu)思了一位熱情奔放、向著廣袤宇宙飛升的女子。30余個(gè)日日夜夜，鄭放鳴殫精竭慮，精雕細(xì)刻，終于完成了這件寓意深刻的精品。那飛揚(yáng)的長發(fā)，那美麗的胴體，那幻化成風(fēng)云呼嘯的裙裾，令人震撼。

《高原美》則是通過西藏少女形象表現(xiàn)藏族風(fēng)情，那健美的身姿，那華麗的藏袍，那飛揚(yáng)的佛珠，無不充滿了神秘和禪意。鄭放鳴把世界屋脊的神山圣水、物華天寶和人性淳樸之美巧妙地揉合在一起，讓作品達(dá)到一個(gè)新的高度。

藝術(shù)無止境，且行且努力。鄭放鳴一邊不知疲倦地創(chuàng)作，一邊還如饑似渴地汲取新的營養(yǎng)。50多歲了，還跨進(jìn)中國美院的殿堂去學(xué)習(xí)深造，無怪她總是碩果累累，佳作迭出。2011年，鄭放鳴參加在東陽舉辦的全國“神雕杯比賽”，其作品黃楊木雕《屈原》從30多名來自全國的高手創(chuàng)作的作品中脫穎而出。

2010年至今，鄭放鳴在全國各地的比賽中共收獲1個(gè)特等獎(jiǎng)、18個(gè)金獎(jiǎng)、8個(gè)銀獎(jiǎng)和6個(gè)銅獎(jiǎng)，成了人人欽羨的“獲獎(jiǎng)專業(yè)戶”。她的《釣魚島的主人》獲第四屆中國浙江工藝美術(shù)精品博覽會(huì)“中信杯”特等獎(jiǎng)；《英姿颯爽》獲第六屆中國（東陽）木雕、竹編工藝美術(shù)博覽會(huì)金獎(jiǎng)；《和諧一家》獲中國（杭州）工藝美術(shù)精品博覽會(huì)金獎(jiǎng)……

除了木雕，鄭放鳴的刀觸還涉及了石雕、象牙雕、蜜蠟雕，被人譽(yù)為“四雕全能”。早在上世紀(jì)九十年代初，她創(chuàng)作的400斤重的石雕《白蛇傳》就驚艷世人?？?，那層巒疊嶂的山外青山，那雕欄玉砌的樓外有樓，還有那青松、垂柳、鮮花、拱橋，更有那栩栩如生的許仙、白娘子和小青；這件炫麗多彩的作品和鄭放鳴個(gè)人照片，在1991年4月21日的《中國青年報(bào)》頭版登載。

2015年，鄭放鳴參加在浙江泰順舉行的現(xiàn)場創(chuàng)作石雕大賽，參賽者有80多名，高手林立，鄭放鳴是唯一的女性，她的石雕《點(diǎn)贊》，獲得比賽第二名。

蜜蠟雕則是2016年才嘗試的。從烏克蘭進(jìn)口的蜜蠟成色挺好，但這玩意兒成本很高，且脆硬易崩，稍有不慎就血本無歸，所以無人敢于問津。聰慧而勇敢的鄭放鳴經(jīng)過反復(fù)的琢磨嘗試，很快掌握了這門絕活。她創(chuàng)作的蜜蠟作品《十二生肖》，榮獲了當(dāng)年的第十一屆中國（東陽）木雕竹編工藝美術(shù)博覽會(huì)金獎(jiǎng)。

鄭放鳴一直有一個(gè)夢(mèng)想：讓黃楊木雕走出國門。為了這個(gè)目標(biāo)，她像苦行僧般踽踽獨(dú)行了40多個(gè)春秋。

機(jī)會(huì)總是給有準(zhǔn)備的人。2016年12月12日，泰國溫州商會(huì)在曼谷召開成立大會(huì)。鄭放鳴攜帶著她的黃楊木雕《探月》和《高原美》前往曼谷。沒想到的是，她這兩件作品在泰國大放異彩，得到了極高的評(píng)價(jià)和熱烈的追捧，并被泰國前副總理、泰中友好協(xié)會(huì)會(huì)長功·塔帕朗詩和泰國溫州商會(huì)收藏。

這真是巾幗不讓須眉！鄭放鳴用她的藝術(shù)作品為溫州爭光，為祖國爭光。積極進(jìn)取，不負(fù)韶光，相信鄭放鳴在有生之年，會(huì)有更多的精品脫穎而出，也將把更多的佳作帶出國門，走向世界。

Yueqing， a county-level city in the jurisdiction of Wenzhou， a port city in southeastern Zhejiang， is well known for the glory of woodcarving. Take a stroll around town and you can see a lot of woodcarving artists sitting by a window and working at their pieces. Woodcarving has been an economic mainstay of the city for centuries.

Zheng Fangming is one of the numerous woodcarving artists in Yueqing. But unlike her fellow artists， she is an all-rounded sculptor. She not only excels at boxwood carving， she has also created masterpieces of stone， ivory and wax.

She carries on the family excellence in art. Her grandfather graduated from Shanghai College of Music in the 1920s. Her father was a master of boxwood carving. In 1957， a set of boxwood carving of his was featured in Art， a national art periodical. In the 1960s and 1970s， he set up a boxwood carving business and a stone carving business respectively n Yueqing. The two factories have cultivated a large group of carving artists.

Zheng Fangming grew up among artists and art works. At 14， she started working as a carver. By 30 she had firmly established herself as a master. Many of her creations were sold to overseas clients through trade companies.

As an all-round artist， she is a big winner at exhibitions and competitions as she can shine in various fields. In the early 1990s， she made her fame as a stone sculptor by a huge 200-kilo piece called based on a famous Chinese legend. The creation wowed the audience. It made its way into the front page of China Youth Daily on April 21， 1991. Since 2010， she has grabbed one special award， eighteen gold medals， eight silver medals and six bronze medals at various competitions across the country.

In 2015 she appeared at a stone carving competition in Taishun， a rural county in southern Zhejiang. She was the only woman of the 80 plus competitors. All the participants were required to create on the spot. She came out the second.

She tried her hand at beeswax carving in 2016. Few artists would dare to touch the material as the high-quality expensive beeswax， imported from Ukraine， is likely to break and crack when subjected to carving tools. A failure could be very costly. Zheng soon got the hang of carving on beeswax. Her beeswax artworks won a gold medal at the 11th national woodcarving and bamboo weaving art exposition held in Dongyang， Zhejiang.

She owes her success partly to her dedication. In her fifties， she took a special master course at China Academy of Art， located in Hangzhou， the capital of Zhejiang Province.

Her biggest overseas success happened in December 2016. Wenzhou Chamber of Commerce in Thailand was founded that month in Bangkok， Thailand. She brought her two boxwood-carving masterpieces to the founding ceremony. One was ， a stone carving based on Change， a legendary immortal in Chinese myth， inspired by the first Chinese woman astronaut who flew in Chinas outer-space program. The other was featuring a Tibetan girl. The two pieces respectively went into the collection of Korn Dabbaransi， former vice-prime minister of Thailand and president of the Thai-Chinese Friendship Association and that of the Wenzhou Chamber of Commerce in Thailand.

The warm reception of her artworks in Bangkok was a big surprise to her. She considers the trip to Thailand a great landmark of her artist career. She has long since wanted her artworks to be better recognized and appreciated in the world.