原文

白沙书

白沙先生善书，其《书说》曰：“予书每于动上求静，放而不放，留而不留，此吾所以妙乎动也。得志弗惊，厄而不忧，此吾所以保乎静也。法而不囿，肆而不流，拙而愈巧，刚而能柔，形立而势奔焉，意足而奇溢焉，以正吾心，以陶吾情，以调吾性，此吾所以游于艺也”。甘泉云：“先生初年墨迹，已得晋人笔意，而超然不拘拘形似，如天马行空，步骤不测。晚年造诣益自然，自谓吾书熙熙穆穆。有诗云：神往气自随，氤氲觉初沐。夫书而至于熙熙穆穆，岂非超圣入神，而手与笔皆丧者乎？此与勿忘勿助之间，同一天机，非神会者不能得之。学者因先生之书以得夫自然之学，毋徒役耳目于翰墨之间，斯为可贵焉耳”。甘泉亦善书，常与郑氏诗云：“孔新爱我字，字者心之画。心苟有神妙，不画亦自得。由画以得心，立造神妙域。氤氲初沐时，太和未鸟迹。吾欲斩茅根，同子坐端默”。

白沙晚年用茅笔，奇气千万丈，峭削槎枒，自成一家，其缚秃管作擘窠大书尤奇。诸石刻皆亲视工为之，故慈元庙、浴日亭、庄节妇诸碑，粤人以为宝。甘泉亦能大书，南京燕子矶有“天空海阔”四字，刻绝壁上，旁一诗有云：“新秋窈窕题诗还”。其梅关、五仙观、浴日亭三碑，人争搨之。吾粤先辈多善书。有赵东台者，于诃林书“梁唐嘉树”四大字。而黎瑶石于锦石山书“华表石”三大字，大径丈余，人皆以为神笔。瑶石真、草、篆、隶皆善。文徵明尝语人云：“书法嗣吾后者，惟敬也”。卒后，有购其一纸，辄出数金。高丽使至，必求其笔迹以归。邝湛若八分绝得汉法，楷书仿颜氏家庙碑，自书所撰诗集，使工刻之，卷首篆“藏之名山传之其人”八字。东莞周一士，以二王楷书书五老园稿，字若指头大，遒媚可爱，得之者珍犹美璧也。

白话

中文

陈白沙先生擅长书法，他的《书说》中写道：“我的书法常常在动态中追求静穆，要舒展却不放纵，要含蓄却不凝滞，这是我驾驭‘动’的奥妙所在。得志时不骄矜，困顿时不忧愁，这是我保持‘静’的方法。遵循法度而不受其束缚，恣意挥洒而不流于散漫，看似笨拙却更显巧妙，笔画刚劲又能展现柔和，字形确立而气势奔放，意境充足而奇趣横生，以此来端正我的心，陶冶我的情，调和我的性，这就是我遨游于书法艺术的方式。” 湛甘泉评论说：“先生早年的墨迹，已经深得晋代书法的意韵，但又超然脱俗，不拘泥于外在形似，如同天马行空，变幻莫测。晚年的造诣更加自然，他自己说自己的书法达到了‘熙熙穆穆’（温和肃穆）的境界。有诗写道：‘心神向往则气息自然跟随，仿佛在氤氲之气中刚刚沐浴。’书法能达到‘熙熙穆穆’的境界，岂不是超越凡圣、进入神妙之境，连手和笔的存在都感觉不到了吗？这与‘勿忘勿助’（指顺其自然，不过分干预）的道理一样，是同一层次的自然天机，不是心领神会的人是无法达到的。学习的人应该通过先生的书法来领悟这种自然的学问，不要仅仅把精力耗费在笔墨技巧上，这样才算可贵啊。” 湛甘泉也擅长书法，曾作诗给姓郑的朋友说：“孔新（可能指郑氏）喜爱我的字，（因为）字是心灵的图画。内心如果有了神妙的境界，不用刻意描画也能自然流露。通过书写来体悟内心，就能立刻达到神妙的境地。如同在氤氲之气中沐浴时，那是文字（鸟迹）还未出现前的太和元气。我想要斩断茅草根（指世俗杂念），与你一起静坐体会。”

陈白沙晚年使用茅草做的笔（茅龙笔），写出的字奇气纵横，笔画峭拔、错落有致，自成一派风格。他用秃笔杆绑成大笔书写牌匾大字尤其奇特。许多石刻碑文都是他亲自监督工匠镌刻的，所以慈元庙碑、浴日亭碑、庄节妇碑等，广东人都视若珍宝。湛甘泉也擅长写大字，南京燕子矶绝壁上刻有他写的“天空海阔”四个大字，旁边还有一首诗，其中有句：“新秋窈窕题诗还”。他在梅关、五仙观、浴日亭所书的三块碑，人们都争相拓印。我们广东的前辈们很多都擅长书法。有位叫赵东台的，在诃林（寺庙名）题写了“梁唐嘉树”四个大字。黎瑶石在锦石山书写了“华表石”三个大字，字径有一丈多，人们都称之为神来之笔。黎瑶石的真书、草书、篆书、隶书都写得很好。文徵明曾经对人说：“在我之后继承书法（成就）的，只有黎敬（黎瑶石字敬）了。”黎瑶石去世后，买他一张字动辄要花费好几两金子。朝鲜的使者来到（中国），必定求取他的墨迹带回去。邝湛若的八分书完全得到汉代书法的精髓，楷书模仿颜真卿的《家庙碑》，他自己书写自己创作的诗集，让工匠刻印，卷首用篆书题写“藏之名山传之其人”八个字。东莞人周一士，用王羲之、王献之风格的楷书书写《五老园稿》，字有指头那么大，遒劲妍美，非常可爱，得到的人都像珍藏美玉一样珍惜。

英文

Mr. Chen Baisha was skilled in calligraphy. In his "Discourse on Calligraphy" (Shushuo), he wrote: "In my calligraphy, I always seek stillness within motion; releasing without letting go, holding back without stagnation—this is how I master movement. I remain unperturbed when successful and untroubled in adversity—this is how I maintain stillness. I follow rules without being confined, express freely without being undisciplined; my apparent clumsiness reveals greater skill, my strength contains gentleness; the form is established while the momentum surges, the intent is fulfilled and novelty overflows. Through this, I rectify my mind, cultivate my emotions, and harmonize my nature—this is how I roam freely in the art." Zhan Ganquan commented: "The Master's early works already captured the essence of Jin dynasty calligraphy, yet he was transcendentally free from mere formal resemblance, like a celestial steed soaring through the sky, its steps unpredictable. In his later years, his attainment became even more natural. He himself described his calligraphy as 'harmonious and solemn' (xixi mumu). A poem says: 'Where the spirit goes, the vital energy (qi) naturally follows; in the enveloping mist, one feels newly bathed.' For calligraphy to reach the state of 'harmonious and solemn,' has it not surpassed the sage and entered the divine, where both hand and brush seem forgotten? This shares the same natural principle as 'neither forgetting nor assisting' (acting naturally without undue interference); only those who grasp it intuitively can attain it. Learners should, through the Master's calligraphy, grasp this 'natural learning' (ziran zhi xue), and not merely exert their senses on ink and brush—this is what is truly valuable." Zhan Ganquan was also skilled in calligraphy and often wrote poems with Mr. Zheng, saying: "Kongxin (likely Mr. Zheng) loves my characters, for characters are paintings of the mind (xin). If the mind possesses divine subtlety, it will manifest naturally even without deliberate painting. By understanding the mind through painting (calligraphy), one instantly enters the realm of divine subtlety. Like bathing in the enveloping mist, it is the primal harmony (taihe) before bird tracks (writing) existed. I wish to cut the thatch roots (worldly distractions) and sit in quiet contemplation with you."

In his later years, Chen Baisha used a brush made of thatch (maobi, known as maolongbi or Thatch Dragon Brush). His calligraphy possessed an extraordinary spirit, with sharp, jagged strokes, forming a unique style. He was particularly noted for binding worn-out brush heads to create large brushes for writing oversized placard characters (boke dashu). He personally supervised the carving of many stone inscriptions; thus, the steles at Ci Yuan Temple, Yu Ri Pavilion, and for the Chaste Widow Zhuang are treasured by the people of Guangdong. Zhan Ganquan was also capable of writing large characters. On the cliffs of Swallow Rock (Yanziji) in Nanjing are carved his four large characters "Sky Vast, Sea Broad" (Tian Kong Hai Kuo), alongside a poem containing the line: "In the graceful new autumn, I return after inscribing a poem." His three steles at Meiguan Pass, the Five Immortals Temple (Wuxian Guan), and Yu Ri Pavilion were highly sought after for rubbings. Many predecessors in our Guangdong region were skilled calligraphers. There was Zhao Dongtai, who wrote the four large characters "Liang Tang Jia Shu" (Fine Trees of Liang and Tang Dynasties) at Helin Temple. Li Yaoshi inscribed the three large characters "Hua Biao Shi" (Ornamental Pillar Rock) at Jinshi Mountain, each character over ten feet in diameter, hailed by people as divinely inspired writing. Li Yaoshi excelled in regular (zhen), cursive (cao), seal (zhuan), and clerical (li) scripts. Wen Zhengming once told someone: "In calligraphy, the one who will succeed me is none other than Jing (Li Yaoshi's courtesy name)." After Li Yaoshi's death, a single sheet of his work would fetch several taels of gold. Envoys from Korea, upon arrival, would invariably seek his calligraphy to take back. Kuang Zhanruo's Bafen script perfectly captured the Han dynasty method; his regular script imitated Yan Zhenqing's "Family Shrine Stele" (Jiamiao Bei). He wrote out his own poetry collection for artisans to carve and print, inscribing the title page in seal script with the eight characters: "Store it in a famous mountain, pass it to those who understand." Zhou Yishi from Dongguan wrote the manuscript "Wulao Yuan Gao" in the regular script style of Wang Xizhi and Wang Xianzhi. The characters were about the size of a fingertip, vigorous yet charming and lovely; those who acquired it cherished it like a beautiful jade disk.

文化解读/分析

本条目记述了明代著名理学家、教育家、书法家陈献章（号白沙）的书法理论与实践，及其在岭南地区乃至更广范围内的深远影响。

1. 白沙书法理论的核心：陈白沙的书法观与其“心学”思想一脉相承，强调“心”的主导作用和“自然”的境界。他提出的“动上求静”、“法而不囿，肆而不流”等观点，体现了对立统一的辩证思想和超越技法、追求心性自由与自然天成的艺术哲学。书法被视为“正吾心，以陶吾情，以调吾性”的修身途径，“字者心之画”的理念在此得到印证。
2. 茅龙笔的创新与风格：白沙晚年使用自创的“茅龙笔”（即文中所述“茅笔”），以圭峰山上的白茅制成。这种硬毫笔写出的字具有“峭削槎枒”、“奇气千万丈”的独特风格，打破了传统毛笔的柔和效果，开创了雄奇拙朴、气势磅礴的书风，自成一家，极具辨识度。这体现了其不拘传统的创新精神。
3. 湛甘泉的阐释与推崇：作为白沙心学的主要继承者，湛若水（号甘泉）不仅自身书法造诣颇高，更是白沙书法理论的重要阐释者。他将白沙书法的“熙熙穆穆”境界与“勿忘勿助”的修养功夫相联系，提升到“自然之学”的高度，强调通过书法体悟心性、达到“超圣入神”境界的重要性，而非仅仅停留在“翰墨之间”的技法层面。
4. 岭南书法的传承与繁荣：条目不仅聚焦于陈白沙，还提及了湛甘泉、赵东台、黎瑶石、邝湛若、周一士等多位广东籍或与广东渊源深厚的书法家及其代表作或擅长书体。这反映了明清时期广东地区书法艺术的兴盛，名家辈出，风格多样（如黎瑶石兼善真草篆隶，邝湛若精于汉隶与颜楷）。文徵明对黎瑶石的高度评价以及朝鲜使者求购其墨迹，更显示了岭南书法家在当时全国乃至国际上的影响力。
5. 书法的社会价值与民俗意义：文中提到白沙、甘泉等人的石刻碑文被“粤人以为宝”、“人争搨之”，黎瑶石、周一士的作品价值不菲（“数金”、“珍犹美璧”）。这不仅体现了书法艺术的审美价值和经济价值，也反映了书法作品（尤其是名家真迹和碑刻拓片）在当时社会文化生活中的重要地位，成为人们珍藏、学习、交流的重要载体，融入了地方文化认同和精英文化消费的层面。碑刻作为公共艺术，承载着历史记忆和文化信息，其拓片流传亦是一种文化传播方式。

关键词

陈献章, 陈白沙, 白沙先生, 湛若水, 甘泉, 广东新语, 艺语, 书法, 白沙书, 茅龙笔, 茅笔, 书法理论, 心学, 自然之学, 动静, 石刻, 碑刻, 慈元庙, 浴日亭, 庄节妇碑, 黎瑶石, 邝湛若, 周一士, 赵东台, 岭南书法, 广东书法, 明代书法