良宽：天上大风， 最是人间留不住

文 / 于剑波

 

良宽（日本江户时代后期的诗歌人、汉诗人、书法家）。良宽有个最著名的观点：平生最不喜欢书家的字、厨师的菜与诗人的诗。

 

这三种人的“活儿”大概都太局限在本身的技法层面上，在这个层面上尽无懈可击之能事，总是不免让人有炫技法之嫌！谈不上大境界。良宽的境界更像是跳出“活儿”的层面，反而活泼泼地。

 

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大多数人对良宽印象最深的可能是《天上大风》。那是他与儿童一起放风筝时，儿童们邀请良宽在他们的风筝上写上字，良宽便写下了闻名天下的作品。

 

良宽一生，住草庵，行乞食，孤独清贫而自在。良宽容膝易安，不改其乐。良宽的挚友解良荣重在《良宽禅师奇话》中说道：“与师语，顿觉胸襟清净。师不说内外经义以劝善，就厨上烧火，或就正堂坐禅。其言不涉诗文，不及道义，优游不可名状，但道义化人而已。”

 

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良宽曾学习过二王、怀素、黄庭坚的草书以及小野道风的《秋荻帖》，同时又得日本假名书法精髓。

 

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就草书而言，尤其受怀素的影响更大，其线质更近《自叙帖》，其恣肆有过之而无不及，更美妙的是与假名书法结合得十分完美！其楷书受二王、二欧影响多一些，更增添了禅趣与稚拙，对民国时期有过留学日本经历的几位大家影响颇深，如谢无量、弘一法师等。

 

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