Zheng Hua began to publish his artworks in the 1960s when the marjority of his paintings were western style. He has devoted himself to the research and creation of traditional Chinese painting since 1980s. Having exlopred the field of art for decades， he acquired much experience and broader horizon， forming his distinct artistic style. Both his landscape paintings and figure paintings are magnificent and vigorous by integrating the reality and abstract perfectly.

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一定要画么，是否可以不画？苦、累、闷，一种跌落又拾起、拾起又跌落的感觉时时在心头萦绕。走过的路，坑坷比坦途要多，颀慰与惆怅并存。是肯定还是否定，自己也难把握。只为是一种爱好，一种习惯，抑或只为是一种生命的寄托和延续。把思维带入这既现实又虚拟的空间去折磨、去摔打，去重塑自我。既无些许的侥幸，又无可寻的捷径，有的只是彷徨和迷惘。所幸还有自信和勇气。靠着手中握的笔的拐杖，一步步地往前挪。不管人们怎样评说，既然已经跌落过难道还怕再跌落？

走进空灵、虚幻却又耐人寻味的迷宫，无疑是把现实感情抽象化了。不以物象为物象，又不能不以物象为物象。没有根底的作品总难站住脚。如若不然，似墙上芦苇经不住风雨的品评。艺术家注定要比别人多一份磨难，多一剂被艺术折磨的苦药，不得不喝，而又不能不喝。艺术的追求，如同射出一支永远钉不上靶心的箭，停不下，也回不了头。

经过多方摔打，磨掉多边棱角，挫去不少锐气，自然也就锋芒不露。而心却又时时感到闷闷的，只好把气往画上喷，在自我的天地里寻求解脱，寻求再生的涅槃。盖文王拘而演《周易》，仲尼厄而作《春秋》……随着思想的升华，艺术也似乎更超脱，更远离市尘，但却和自己的心靠得更近，更有自己的个性。少了些娇柔，多了一份诚实，再不是哗众取宠，为获得廉价的赞赏而搓跎了岁月。并且更多的是沉下去、沉下去，当它升起的时候，征帆将缀满金灿灿的阳光。