自明代前期至明清之際，詩壇對陳獻章詩學的討論未曾停歇。然而，無論是自詡陳氏嫡傳的湛若水，以「詩教」詮釋陳氏詩作、詩論，或者與陳氏年代相近之楊慎，以「心性理學」來「解說」，都被後世學者認為是偏離認識陳獻章「古詩之美」的正途。至於王夫之，不僅以大量詩作唱和陳獻章，更提出了「以風韻寫天真」的詩人譜系。本文藉由會通思想脈絡、探詢文化理念的方向，同時參考「抒情論述」的徑路，以船山對白沙詩學的創造性詮釋為問題基點，試圖跨越流派藩籬，既呈現「心性」書寫與「格調」主張交錯之視野，同時也間接回應當代學術的提問。

Chen Xianzhang’s poetics were discussed in the poetic community throughout the period from the early Ming dynasty to the Ming-Qing transition. Although Zhan Ruoshui 湛若水was proud to style himself as a direct student of Chen, the distance between his interpretations and Chen’s poems and poetics must be addressed. A contemporary of Zhan, Yang Shen 楊慎, interpreted Chen’s poetics in terms of the ideas of the Neo-Confucian School of Mind, and deviated from the proper recognition of Chen’s “beauty in ancient poetry.” Later, Wang Fuzhi 王夫之 not only wrote a large number of poems in response to Chen’s, but also proposed a poetic lineage of “writing with graceful charm on innocence.” This article’s approach is to understand the intellectual context and identify cultural principles, while referencing the path of lyrical discourse. Taking as its starting point Wang Fuzhi’s creative interpretation of Chen Xiangzhang’s poetics, this article tries to cut across boundaries of school to present a view of Chen’s poetics that mingles “mentality” in his writing with his assertions regarding “style,” while also indirectly dealing with questions raised in contemporary academic circles.