本文以《智永書學與佛學之實踐－以《真草千字文》為例》為題，旨在呈現智永書藝之中書學與佛學的內涵。除了緒論與結論之外，本文以〈智永與其《真草千字文》在書史上的評價與影響〉、〈真、草書淵源與其它書體的關係〉、〈智永相關書學實踐之探討〉、〈智永相關佛學實踐之探討〉……共四章作為主要架構。 第二章主要在論述智永與其《真草千字文》在書史上的評價與影響，包括《真草千字文》版本的討論，是否智永寫《真草千字文》如同後來的禪宗在樹立傳承的「衣缽」？對佛教的抄經事業有何幫助？ 由於智永的《真草千字文》是由二種書體：楷書（真書）與今草所組成，因此第三章介紹此二種書體的簡介、淵源，以與其他書體──特別是行書之間的關係。在第四章，闡述智永身在老、莊、《易經》之三玄為主流的魏晉南北朝，其腦海中的書學有可能亦深受玄學所影響。然而有王氏子孫、書法家和佛教僧人……三重身份的他，可能在表現書法藝術之時帶有某些宗教哲思，尤其魏晉自兩漢以來不斷探討一些二元對立與融合之思想，引申至書學，例如：法與意、形與神之間的互動，是否在智永筆下也產生激盪？何況智永長期不被史料或學界所重視的僧人身份。在舶來品的大乘佛教傳入中國之後，逐步融入中國人的血液中，像是《般若經》傳達的「性空」與《法華經》傳達的「唯心」，包括「禪」與「退筆塚」的關係、大乘菩薩行與《維摩詰經》和「鐵門限」……等佛學之間的關連，皆在第五章論述。 This thesis is titled "Reflective practice of Zhiyong's Calligraphy and Buddhism－A case study of his“Zhencao Qianziwen””, and aims to present the connotation of Chinese Calligraphy and Buddhism in Zhiyong's Calligraphy writing. In addition to the introduction and conclusions, this thesis is based on "The Evaluation and Influence of Zhiyong and His " Zhencao Qianziwen " in the History of Calligraphy ", "Relationship between the Origin of Regular script and Cursive scripts and Other script", and "Discussion on Zhiyong's Related Calligraphy Practice" , "Discussion on Zhiyong's Related Buddhist Practices"... There are four chapters as the main framework. The second chapter mainly discusses the evaluation and influence of Zhiyong and his "Zhencao Qianziwen" in the history of Calligraphy, including the discussion of the version of "Zhencao Qianziwen", whether Zhiyong wrote the "Zhencao Qianziwen" as in the later Zen Establish the "mantle" of inheritance? How does it help Buddhism's copying of Buddhist scriptures? Since Zhiyong's "Zhencao Qianziwen" is composed of two script styles: regular script and New cursive scripts, the third chapter introduces the introduction and origin of these two script styles in order to compare with other script styles── Especially the relationship between Semi-cursive script. In the fourth chapter, it is explained that Zhiyong was in the Wei & Jin and Southern and Northern Dynasties where the three metaphysics of Lao-Tzu & Zhuang-Tzu and “I-Ching” were the mainstream, and the calligraphy in his mind may also be deeply influenced by metaphysics. However, there are Wang family descendants, calligraphers and Buddhist monks... He who has a triple identity may have certain religious philosophies when expressing the art of calligraphy, especially since the Wei and Jin Dynasties have continuously explored some dualistic opposition and fusion ideas. Extended to his calligraphy ,such as: Is the interaction between law and mind, form and spirit also agitated in Zhiyong's artwork? What's more, Zhiyong's identity as a monk has not been valued by historical materials or academic circles for a long time. After the introduction of imported Mahayana Buddhism into China, it gradually integrated into the blood of the Chinese people, such as the "śūnya" conveyed by the “Prajna Sutra” and the "Idealism" conveyed by the “Lotus Sutra”, including "Zen" and " The tomb of some bad brushes " , The Practice of Mahayana Bodhisattva and the "Vimalakirti Sutra" and "Iron Gate"... and other Buddhist studies are discussed in Chapter 5.
