郑板桥（1693-1765），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。

郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。 代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。

郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。

“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”

郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。

Zheng Banqiao (1693-1765), formerly known as Zheng Xie, with the word Ke Rou, is called Li'an and Banqiao. He is called Mr. Banqiao, from Xinghua, Jiangsu Province, and his ancestral home is Suzhou. A scholar of Kangxi, he was a scholar in the tenth year of Yongzheng and a scholar in the first year of Qianlong (1736). He was an official of Fanxian county and Weixian County in Shandong Province, with remarkable political achievements. Later, he lived in Yangzhou and made a living selling paintings. He was an important representative of the "eight monsters in Yangzhou".

Zheng Banqiao only painted orchids, bamboos and stones all his life. He claimed that "the orchids that do not wither in four seasons, the bamboos that last for a hundred days, the stones that remain invincible through the ages, and the people who remain unchanged through the ages". His poetry, calligraphy and painting, known as the "three wonders" in the world, are more representative literati painters in the Qing Dynasty. His representative works include the painting of new bamboos, the painting of clear light, the painting of fragrant orchids and bamboos, the painting of chamomile spring, the painting of clumps of orchids and thorns, and the collection of Zheng Banqiao.

Zheng Banqiao's calligraphy, mixed with official script and regular script, calls itself "six and a half script" and is called "Banqiao style". Most of his paintings are based on orchid, bamboo and stone. Orchid and bamboo almost become the calligraphy art of Zheng Banqiao, which is unique in the history of Chinese calligraphy.

It is inferred from Xiao Kai Ouyang Xiu's autumn sound Fu written by him at the age of 23 and Xiao Kai Fan Shi written by him at the age of 30 that Banqiao learned books from Ouyang in his early years. The font was neat and beautiful, but slightly formal: This was related to the prevalence of neat and beautiful Pavilion style in the book world at that time, which was used as the standard font for selecting scholars in the imperial examination. In this regard, Zheng Banqiao once said: "The small regular script is too uniform, and it is afraid that the working book will damage the spirit." after he became a scholar at the age of 40, he rarely wrote it again. Zheng Banqiao's calligraphy is most praised as "six and a half script", that is, the "Banqiao style" created by "Han Bafen" (a kind of official script) mixed regular script, line and grass.

"Six and a half" calligraphy is Zheng Banqiao's joking title for his original calligraphy. There is a kind of "eight and a half" in Lishu, which has many strokes. The so-called "six and a half" generally means Lishu, but it is mixed with regular script, line, seal character, grass and other calligraphy styles. The axis of Cao Cao's poetry in running script (like the Yangzhou museum now stored) can be regarded as "six and a half" This is a representative work of Cao Cao's poem "viewing the sea". It has a large format, with an average of more than 10 square centimeters per room. The font has strong official meaning, both seal and regular script. It has a flat and long shape, and the house is mainly square and slightly dangling. It is simple and broad, which is just similar to the majestic and broad style of Cao's poems. Zheng Banqiao once praised his calligraphy in his poem "to pan Tonggang": "My Cao's pen array is full of clouds and smoke, sweeping the air and spreading the blue sky. There are two lines of numbers in one line, and the stars in the South and the north."

The composition of Zheng Banqiao's calligraphy works is also very unique. He can intersperse the size, length, radius, fat, thin and density, such as "riprap Street", which contains rules. It seems that his essays are scattered, but on the whole, it has a sense of leaping and flexible rhythm. For example, on running calligraphy, written in the 27th year of Qianlong The banner, which was 70 years old, was a masterpiece in his later years. The main idea was that Su Dongpo liked to write with Xuancheng Zhuge Qifeng's pen, which was very satisfactory. Later, he changed to another pen, but his palm didn't match. Banqiao himself liked to write with Taizhou Deng's yanghao pen, which was graceful and flying. So he compared Taizhou Deng's yanghao to Xuancheng Zhuge Qifeng, and finally said: "How dare you imitate Dongpo? Writing with a pen is fat rather than thin. It also means slope." the whole work has large and small characters, thick and thin strokes, oblique posture, stippling, pressing and turning like music in the ear, birds flying in the air and fish swimming in the water. It shows its strength and look in an arbitrary rhythm: he Shaoji, a Qing Dynasty man, said his characters "Orchid and bamboo are of special] interest". From the composition, structure and strokes of this crystal, we can't see his orchid, bamboo and Lou God who "waves are strange and ancient and elegant".