In the Tang Dynasty, whether it was the ruling class or the common people, there were many people who believed in Buddhist scriptures, the demand for Buddhist texts was increasing, and new Buddhist scriptures in the West continued to come, so some people specially copied the scriptures for people to read. Usually, there are two types of people who pass on the sutras, one is a monastic monk, and the other is a sutra student (also known as a sketcher or a book writer). The vast majority of the so-called jingsheng are frustrated people in the field of merit and fame, and their names are not found in the sutras, and the parallel life is actually impossible to examine. For reasons such as the livelihood of nearly three places, they had to rely on a little skill that they had practiced hard for many years to copy the scriptures for people. The large number of Jingsheng and his works can be said to be a unique cultural phenomenon at that time.
Judging from the works that have been handed down, the writing of the jingsheng also has a certain style and format. For example, first draw a silk boundary column on the paper specially designed for writing the sutra, then write the name of the sutra at the beginning of the volume, then write the scriptures, and finally indicate the number of paper used or the volume number of the Buddhist scriptures written. Some even sign the name of the student or attach a petition. In addition, according to the "Xuanhe Book Genealogy", when the Jingsheng master created, he "repaired himself", "thousands of words are always the same, and he did not lose his line", "One twist and three folds, and the momentum of the pen was also self-respecting." It is better to be righteous in its intention and writing, and it is particularly rigorous and rigorous, and it can also be praised." This means that when scribes copy scriptures, they must have a deferential heart, no distractions, peace of mind, peace of mind, and fully enter the role, and even enter the mysterious realm. Secondly, for them, it is also necessary to achieve both speed and quality, not only to copy quickly, not to delay effort, to affect income, but also to be neat and tidy, so that it is easy for those who recite the scriptures to read quickly. In this way, the style, characteristics and even procedures of the "scripture writing style" calligraphy were gradually established. Because Jingsheng calligraphy not only spreads buddhist doctrines, but also expands the role of calligraphy art in cultivating the public, it has always attracted attention from many sides.
Since the introduction of Buddhism to Middle-earth, scripture writing calligraphy has come into being, so that it has become another dazzling religious and cultural beauty in addition to murals and statue art.
In the Tang Dynasty, whether it was the ruling class or the common people, there were many people who believed in Buddhist scriptures, the demand for Buddhist texts was increasing, and new Buddhist scriptures in the West continued to come, so some people specially copied the scriptures for people to read. Usually, there are two types of people who pass on the sutras, one is a monastic monk, and the other is a sutra student (also known as a sketcher or a book writer). The vast majority of the so-called jingniu are frustrated people in the field of merit and fame, and their names are not found in the scriptures, and it is even more impossible to examine the parallelism of life. Forced to make a living and other reasons, they had to rely on a little skill that they had practiced hard for many years to copy the scriptures for people. The large number of Jingsheng and his works can be said to be a unique cultural phenomenon at that time.
Judging from the works that have been handed down, the writing of the jingsheng also has a certain style and format. For example, first draw a silk boundary column on the paper specially designed for writing the sutra, then write the name of the sutra at the beginning of the volume, then write the scriptures, and finally indicate the number of paper used or the volume number of the Buddhist scriptures written. Some even sign the name of the student or attach a petition. In addition, according to the "Xuanhe Book Genealogy", when the Jingsheng master created, he "repaired himself", "thousands of words always followed the law, and did not lose the number of lines", "one twist and three twists, the momentum of the pen is also self-conscious." It is better to be righteous in its intention and writing, and it is particularly rigorous and rigorous, and it can also be praised." This means that when scribes copy scriptures, they must first have a pious heart, no distractions, peace of mind, peace of mind, fully enter the role, and even enter the mysterious realm. Secondly, for them, it is also necessary to achieve both speed and quality, not only to copy quickly, not to delay effort, to affect income, but also to be neat and tidy, so that it is easy for those who recite the scriptures to read quickly. In this way, the style, characteristics and even procedures of the "scripture writing style" calligraphy were gradually established. Because Jingsheng calligraphy not only spreads buddhist doctrines, but also expands the role of calligraphy art in cultivating the public, it has always attracted attention from many sides.
When today's readers talk about Jingsheng calligraphy, they will naturally associate it with Dunhuang, because since the Dunhuang Scripture Cave was opened in the 26th year of the Qing Dynasty (19001), the scriptures originating from it have been widely known to the world. In fact, in ancient times, there were many calligraphies that circulated in the scriptures. Taking the "Forbidden City Catalogue of Books and Paintings" as an example, there are sixteen kinds of Tang Dynasty Buddhist scriptures recorded in it (see Mr. Yang Renkai's "Record of the Sinking and Floating of National Treasures"), and as for the "Shiqu Baodi" and "Secret Hall Zhulin" compiled during the Qianlong and Jiaqing years, there are more. Some works, such as the Palace Museum's book "The Law of Good Seeing" by Tang Guoyi, are repeated in the bibliography and are heavily inscribed. Some have also been carved into the bushes, and even enshrined as classics. For example, after the Lingfei Jing was inscribed into the Zhihuitang Fa Ti and the Bohai Tibetan True Thesis, it became famous in the book world, and "even directly or indirectly influenced the Qing Dynasty" (see Mr. Shoulder Gong's "Record (Ling Fei Jing) Forty-three Elements", published in the 34th issue of Yiyuan Shuying).
