雕塑大师郑可教授的作品有着独到的“技”的特色,而从学术理论的“道”中又能得出其作品的历史地位。郑可雕塑呈现的方式应该是多维的,既有技术性因素,又有创造性因素；既有静态的,又有动态的。在这“技”与“道”的互动中,令人感受情感的宣泄,获得精神的栖息。 Professor Zheng Ke, master of sculpture, has the unique “technique” characteristic, and from the “Tao” of academic theory, he can draw the historical position of his works. The way that Zheng Ke sculpture should be presented should be multidimensional, with both technical and creative factors; both static and dynamic. In the interaction between this “technique” and “Taoism”, people feel emotional catharsis and gain spiritual habitat.