华察是明代著名官吏,但在书法史上并无名气,存世作品也十分罕见。在华氏旧藏家族文献资料中,非常难得地保存了华察的四件书作,可补史阙。这些作品面世之后,在学界并未引起足够重视,既未充分研究其书法艺术,亦未判断其艺术水准。本文对华察存世的四件书法作品做了细致的梳理和考辨。由于这些作品主要为华察晚年所书,故其致仕后人生观的改变,以及由此带来的审美观的成熟,无疑会对这一时期的创作产生重要的影响。通过研究华察晚年的诗歌风格,并以此为基础考察华察书法,可发现其书愈到晚年愈精彩。华察书法师承二王,法度精雅,用笔清劲娴熟,结字奇趣横生,晚年书作不事雕琢、随意自然的艺术风格,充分体现了达观通透的人生观和冲和恬淡的审美境界。以华察晚年书作置诸明代帖学的背景中去考量,完全不逊于吴门书家群,可被视为明代书法史的补充。 Hua Cha is a famous official in the Ming Dynasty, but in the history of calligraphy and no reputation, the surviving works are also very rare. In Fahrenheit’s collection of family literature, it is very rare to keep the four books by Hsachah and make up the history. After their publication, these works did not attract enough attention in the academic field. They neither studied the art of calligraphy nor did they judge their artistic standards. This article carefully sorts out and examines the four calligraphic works of Hua Chau. As these works are mainly written by Hua Chao in his later years, the change of his concept of outlook on life after his dedication and the resulting maturity of his aesthetic standards will undoubtedly have an important influence on the creation of this period. By studying the poetic style of Hua Ch’ang’s later years and using it as a basis to examine Hua-zha’s calligraphy, we can find that the book is more wonderful in his later years. Hua Chashu calligraphy division bearing two kings, refined degree of sophistication, with the pen fresh and skilled, funny words knot, novels carved in his later years, free and natural artistic style, fully embodies the concept of life and insight through the red and tranquil and tranquil Aesthetic realm. Taking Hua Za’s later years as a textbook in the Ming Dynasty, it is completely in line with the Wu family of book writers and can be regarded as a supplement to the calligraphy history of the Ming Dynasty.