〈大唐三藏聖教序〉與〈述聖記〉之研究—兼論書法藝術與佛禪之關係=Research on “Preface of Holy Doctrine ” and “Preface of Praising Sages”—Cum Discussion on the Relationship Between Calligraphy and Buddhist Ch'an
In the Tang dynasty, Xuanzang has made great contribution to the interchange of oriental and continental culture through his journey to India. On the other hand, the art of Chinese calligraphy could flourish in the Tang dynasty because of the efforts of the emperors and the calligraphers from the Jin dynasty onwards. The Introduction will spell out the motivation and purpose of my research. Of greater importance, the research is based on my own experience of practicing the art of Chinese calligraphy and being a Buddhist. The conclusion I intend to reach in my thesis is that mastering the art of Chinese calligraphy will lead a person to Samathavipa Syana. My research resources are from the studies of Xuanzang, Buddhist scriptures and the art of Chinese calligraphy, and I will use deduction and induction to justify my results. The following chapters will start off with the background of “Preface of Holy Doctrine” and “Preface of Praising Sages”. First, I will touch upon the life of Xuanzang and his influence, along with his interaction with the emperors of Taizong and Gaozong in the Tang Dynasty. Second, I will research the innovation of the calligraphers in the Tang dynasty, the lives of the iconic calligraphers, their characteristics in the art of Chinese calligraphy. Furthermore, I will also discuss the value and the cultural backdrop of the two artistic works in order to manifest the content of Buddhism and Chinese culture. Next, I will clarify the reason that Taizong and Gaozon made these two artistic works. They intended to praise the contribution of Xuanzang and further advocated Buddhism. The calligraphic styles of Chu Suiliang, Huairen and other figures had enormous influence on later Chinese Calligraphy. These artistic works are the best evidence of the combination of Buddhism and the art of Chinese calligraphy. I maintain that internalizing Buddhist thoughts can enhance the art of Chinese calligraphy, and mastering of this enhanced technique can also grasp the essence of Buddhist thoughts. In fact, the name ‘‘Saint of the art of Chinese calligraphy’’ was given to Xizhi Wang in the Tang dynasty rather than the previous dynasties. Another point is that the practice of the art of Chinese calligraphy is similar to Ch’an: every form of words in Chinese calligraphy differs, which means that there is no unchangeable substance. Our ultimate goal is to remove the attachment to the art and practice this art with a disinterested mental state.
