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鄭放鸣是温州乐清人。乐清多木雕艺人，我们到那里随便一转，几乎每个屋檐下、每个窗口，都坐着系着围裙、全神贯注创作的雕匠，世世代代，木雕是他们赖以生存的手段。
黄杨木雕始创于宋、元，流行于明、清。古语云：千年难长黄杨木。黄杨木因为生长缓慢，注定它的质地坚韧，纹理细密。因为它硬度适中，是上佳的立体雕材料。更可喜的是，它色如象牙，精雕细琢出来的作品尽显贵气，收藏越久，色泽越深，更显古朴和雍容。
乐清黄杨木雕人才辈出，他们的作品屡屡获奖，不少佳作都登上了国家博物馆、北京人民大会堂等大雅之堂。2006年，乐清黄杨木雕被列入首批国家级非物质文化遗产保护名录。
郑放鸣出生于艺术世家。她爷爷郑子静毕业于上世纪二十年代蔡元培任校长的上海音乐学院。因为生计，子静先生后来当了老师，但他对管弦乐的追求痴心不改。1957年中央歌舞团在乐清演出，知根知底的朋友请他上台表演扬琴独奏，一曲《雨打芭蕉》终了，全场为之倾倒，掌声经久不息。
郑放鸣的父亲郑体衡是黄杨木雕的领军人物，他的黄杨组雕《槐荫结合》，早在1957年就登上了《美术》杂志。上世纪六七十年代，郑体衡潜心创办了乐清黄杨木雕厂和乐清石雕厂，并为此付出了毕生精力，培养了大批雕刻艺术人才。
郑放鸣牙牙学语时，就在一尊尊、一座座艺术雕品中蹒跚穿行。耳濡目染，她14岁就拿起了雕刀凿子，开始雕刻生涯。日复一日年复一年，右胸磨出了多厚老茧，双手流了多少鲜血，只有郑放鸣自己心里有数。功夫不负苦心人。刚过自立之年的她，就取得了骄人的成绩，她的作品被许多人看好，并销往海内外。
数十年来，郑放鸣在艺术路上艰辛跋涉，她的工匠精神和创新思维相辅相成，齐头并进。郑放鸣紧跟时代脉搏，敏感地捕捉新鲜事物，及时雕刻出精妙的新作来。我国首位女航天员上天，郑放鸣兴奋之余，就联想到古老的嫦娥奔月故事。于是她萌发了创作《探月》的念头。她继承了传统敦煌壁画的优势，用现代的表现手法，构思了一位热情奔放、向着广袤宇宙飞升的女子。30余个日日夜夜，郑放鸣殚精竭虑，精雕细刻，终于完成了这件寓意深刻的精品。那飞扬的长发，那美丽的胴体，那幻化成风云呼啸的裙裾，令人震撼。
《高原美》则是通过西藏少女形象表现藏族风情，那健美的身姿，那华丽的藏袍，那飞扬的佛珠，无不充满了神秘和禅意。郑放鸣把世界屋脊的神山圣水、物华天宝和人性淳朴之美巧妙地揉合在一起，让作品达到一个新的高度。
艺术无止境，且行且努力。郑放鸣一边不知疲倦地创作，一边还如饥似渴地汲取新的营养。50多岁了，还跨进中国美院的殿堂去学习深造，无怪她总是硕果累累，佳作迭出。2011年，郑放鸣参加在东阳举办的全国“神雕杯比赛”，其作品黄杨木雕《屈原》从30多名来自全国的高手创作的作品中脱颖而出。
2010年至今，郑放鸣在全国各地的比赛中共收获1个特等奖、18个金奖、8个银奖和6个铜奖，成了人人钦羡的“获奖专业户”。她的《钓鱼岛的主人》获第四届中国浙江工艺美术精品博览会“中信杯”特等奖；《英姿飒爽》获第六届中国（东阳）木雕、竹编工艺美术博览会金奖；《和谐一家》获中国（杭州）工艺美术精品博览会金奖……
除了木雕，郑放鸣的刀触还涉及了石雕、象牙雕、蜜蜡雕，被人誉为“四雕全能”。早在上世纪九十年代初，她创作的400斤重的石雕《白蛇传》就惊艳世人。看，那层峦叠嶂的山外青山，那雕栏玉砌的楼外有楼，还有那青松、垂柳、鲜花、拱桥，更有那栩栩如生的许仙、白娘子和小青；这件炫丽多彩的作品和郑放鸣个人照片，在1991年4月21日的《中国青年报》头版登载。
2015年，郑放鸣参加在浙江泰顺举行的现场创作石雕大赛，参赛者有80多名，高手林立，郑放鸣是唯一的女性，她的石雕《点赞》，获得比赛第二名。
蜜蜡雕则是2016年才尝试的。从乌克兰进口的蜜蜡成色挺好，但这玩意儿成本很高，且脆硬易崩，稍有不慎就血本无归，所以无人敢于问津。聪慧而勇敢的郑放鸣经过反复的琢磨尝试，很快掌握了这门绝活。她创作的蜜蜡作品《十二生肖》，荣获了当年的第十一届中国（东阳）木雕竹编工艺美术博览会金奖。
郑放鸣一直有一个梦想：让黄杨木雕走出国门。为了这个目标，她像苦行僧般踽踽独行了40多个春秋。
机会总是给有准备的人。2016年12月12日，泰国温州商会在曼谷召开成立大会。郑放鸣携带着她的黄杨木雕《探月》和《高原美》前往曼谷。没想到的是，她这两件作品在泰国大放异彩，得到了极高的评价和热烈的追捧，并被泰国前副总理、泰中友好协会会长功·塔帕朗诗和泰国温州商会收藏。
这真是巾帼不让须眉！郑放鸣用她的艺术作品为温州争光，为祖国争光。积极进取，不负韶光，相信郑放鸣在有生之年，会有更多的精品脱颖而出，也将把更多的佳作带出国门，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 Chang’e， a legendary immortal in Chinese myth， inspired by the first Chinese woman astronaut who flew in China’s 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.
黄杨木雕始创于宋、元，流行于明、清。古语云：千年难长黄杨木。黄杨木因为生长缓慢，注定它的质地坚韧，纹理细密。因为它硬度适中，是上佳的立体雕材料。更可喜的是，它色如象牙，精雕细琢出来的作品尽显贵气，收藏越久，色泽越深，更显古朴和雍容。
乐清黄杨木雕人才辈出，他们的作品屡屡获奖，不少佳作都登上了国家博物馆、北京人民大会堂等大雅之堂。2006年，乐清黄杨木雕被列入首批国家级非物质文化遗产保护名录。
郑放鸣出生于艺术世家。她爷爷郑子静毕业于上世纪二十年代蔡元培任校长的上海音乐学院。因为生计，子静先生后来当了老师，但他对管弦乐的追求痴心不改。1957年中央歌舞团在乐清演出，知根知底的朋友请他上台表演扬琴独奏，一曲《雨打芭蕉》终了，全场为之倾倒，掌声经久不息。
郑放鸣的父亲郑体衡是黄杨木雕的领军人物，他的黄杨组雕《槐荫结合》，早在1957年就登上了《美术》杂志。上世纪六七十年代，郑体衡潜心创办了乐清黄杨木雕厂和乐清石雕厂，并为此付出了毕生精力，培养了大批雕刻艺术人才。
郑放鸣牙牙学语时，就在一尊尊、一座座艺术雕品中蹒跚穿行。耳濡目染，她14岁就拿起了雕刀凿子，开始雕刻生涯。日复一日年复一年，右胸磨出了多厚老茧，双手流了多少鲜血，只有郑放鸣自己心里有数。功夫不负苦心人。刚过自立之年的她，就取得了骄人的成绩，她的作品被许多人看好，并销往海内外。
数十年来，郑放鸣在艺术路上艰辛跋涉，她的工匠精神和创新思维相辅相成，齐头并进。郑放鸣紧跟时代脉搏，敏感地捕捉新鲜事物，及时雕刻出精妙的新作来。我国首位女航天员上天，郑放鸣兴奋之余，就联想到古老的嫦娥奔月故事。于是她萌发了创作《探月》的念头。她继承了传统敦煌壁画的优势，用现代的表现手法，构思了一位热情奔放、向着广袤宇宙飞升的女子。30余个日日夜夜，郑放鸣殚精竭虑，精雕细刻，终于完成了这件寓意深刻的精品。那飞扬的长发，那美丽的胴体，那幻化成风云呼啸的裙裾，令人震撼。
《高原美》则是通过西藏少女形象表现藏族风情，那健美的身姿，那华丽的藏袍，那飞扬的佛珠，无不充满了神秘和禅意。郑放鸣把世界屋脊的神山圣水、物华天宝和人性淳朴之美巧妙地揉合在一起，让作品达到一个新的高度。
艺术无止境，且行且努力。郑放鸣一边不知疲倦地创作，一边还如饥似渴地汲取新的营养。50多岁了，还跨进中国美院的殿堂去学习深造，无怪她总是硕果累累，佳作迭出。2011年，郑放鸣参加在东阳举办的全国“神雕杯比赛”，其作品黄杨木雕《屈原》从30多名来自全国的高手创作的作品中脱颖而出。
2010年至今，郑放鸣在全国各地的比赛中共收获1个特等奖、18个金奖、8个银奖和6个铜奖，成了人人钦羡的“获奖专业户”。她的《钓鱼岛的主人》获第四届中国浙江工艺美术精品博览会“中信杯”特等奖；《英姿飒爽》获第六届中国（东阳）木雕、竹编工艺美术博览会金奖；《和谐一家》获中国（杭州）工艺美术精品博览会金奖……
除了木雕，郑放鸣的刀触还涉及了石雕、象牙雕、蜜蜡雕，被人誉为“四雕全能”。早在上世纪九十年代初，她创作的400斤重的石雕《白蛇传》就惊艳世人。看，那层峦叠嶂的山外青山，那雕栏玉砌的楼外有楼，还有那青松、垂柳、鲜花、拱桥，更有那栩栩如生的许仙、白娘子和小青；这件炫丽多彩的作品和郑放鸣个人照片，在1991年4月21日的《中国青年报》头版登载。
2015年，郑放鸣参加在浙江泰顺举行的现场创作石雕大赛，参赛者有80多名，高手林立，郑放鸣是唯一的女性，她的石雕《点赞》，获得比赛第二名。
蜜蜡雕则是2016年才尝试的。从乌克兰进口的蜜蜡成色挺好，但这玩意儿成本很高，且脆硬易崩，稍有不慎就血本无归，所以无人敢于问津。聪慧而勇敢的郑放鸣经过反复的琢磨尝试，很快掌握了这门绝活。她创作的蜜蜡作品《十二生肖》，荣获了当年的第十一届中国（东阳）木雕竹编工艺美术博览会金奖。
郑放鸣一直有一个梦想：让黄杨木雕走出国门。为了这个目标，她像苦行僧般踽踽独行了40多个春秋。
机会总是给有准备的人。2016年12月12日，泰国温州商会在曼谷召开成立大会。郑放鸣携带着她的黄杨木雕《探月》和《高原美》前往曼谷。没想到的是，她这两件作品在泰国大放异彩，得到了极高的评价和热烈的追捧，并被泰国前副总理、泰中友好协会会长功·塔帕朗诗和泰国温州商会收藏。
这真是巾帼不让须眉！郑放鸣用她的艺术作品为温州争光，为祖国争光。积极进取，不负韶光，相信郑放鸣在有生之年，会有更多的精品脱颖而出，也将把更多的佳作带出国门，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 Chang’e， a legendary immortal in Chinese myth， inspired by the first Chinese woman astronaut who flew in China’s 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.