For an awakened life, it's just beginning.
Calligraphy undoubtedly adds to my expression, but does my expression matter?
—1—
Buddhist bodhisattvas all make great wishes to free others from the sea of suffering, and the most direct benefit of Buddhism for people is to be able to free you from the sea of suffering and have a Vajrayana heart in the face of all suffering.
A mental system that has not been cultivated in Buddhism is fragile, and only by finding the true heart can we get rid of the harm of the confused system.
Buddhism has become an indispensable part of Chinese culture, not only because it soothes the soul, but also from calligraphy as a carrying system.
For example, Dunhuang's Northern and Southern Sui and Tang Dynasty manuscripts have exquisite calligraphy and are of extremely high value, but less studied.
For example, there are many disciples of the Buddha.
For example, Koichi, such as the Eight Greats, such as Huaisu, such as Zhiyong.
At present, the "Two-Body Thousand Character Text" stored in Todaiji Temple in Japan is not signed, but it is believed to be written by Tomoaga. This thousand-character text has reached a high degree of fluency, strictness and subtlety in the beginning and fall of the brushwork and the echo avoidance of the structure, and indeed has the normative nature of the model. Su Shi thinks that it is "deep and stable" and "interesting".
Although Zhiyong was a high monk, he did not copy the scriptures himself. The Xuanhe Book Genealogy records that there were 23 kinds of Zhiyong posts hidden by the imperial government at that time, including 15 kinds of "Thousand Character Texts", 7 kinds of miscellaneous posts, and 1 kind of "Lie Posts" of Linwang Xizhi, none of which were Buddhist scriptures.
His intention was to set his calligraphy as a model for the monks who copied the scriptures, so he wrote eight hundred copies of the "Thousand Character Text" and distributed them to the monasteries in eastern Zhejiang, and it was obvious that his purpose was achieved.
But does his writing style represent the buddhist spirit? What does calligraphy in the Buddhist realm look like?
—2—
Zen master calligrapher Huai Su is the most famous, he lives in the era of the hottest Zen style, most of his good friends are Zen masters, and the evaluation of his calligraphy in later generations is mostly strange, extraordinary, cursive is better.
It is conceivable that Buddhism "that is, the mind is the Buddha" and "the non-mind is not the Buddha", if you want to do it, you have to sit and sit, and with such great freedom and freedom, you will naturally be "strange" and "extraordinary".
Many of the Zen masters' calligraphy we see later are either strange, or qing covenant, or indifferent, or devious, or divine speed... In terms of technique, deliberately use the bad pen, use the dry pen, use the drowned ink, use the child's clumsy pen, write the words scattered, scatter them into pictures, write and squeeze, squeeze into black balls... In short, it is to line out the readability and neatness of the text, and to line up the artistry and skill.
But calligraphy, the highest level of Buddhism, is rare. The realm he demanded was, "Ignorance, innocence, total relaxation, no effort, no care, like the childishness of a child's toddler and the childishness of learning to speak with teeth and teeth." ”
Xiong Bingming argues in the "Theoretical System of Chinese Calligraphy" that Chinese calligraphers do not have Zen meanings, and the characters of the Japanese monk Liang Kuan are still worth playing.
He felt that the Taishan Sutra Shiyu Diamond Sutra was the most Zen. "This sutra is carved on the stone rock of Taishan Run bed, the rock surface is slightly inclined, undulating, and the carved large characters are more than a thousand, which is quite spectacular, which is different from the general feeling of the flat stele, which is the work of the Northern Qi era, and the book body is between the Kaili. For more than a thousand years, wind and rain have eroded, streams have washed away, artificial chisels, and words have been filtered and blurred. The mouth is round, and the strokes are more mature and fat. The pen is like the twists and turns of the riverbed of the great river, and there is no clear end, which is the product of the cooperation between artificial and natural forces, with superhuman width and magnificence, and calmness. It seems to coincide with the Buddhist view of language, the calligraphy that denies calligraphy, and the calligraphy that transcends calligraphy. If it is determined to be someone's book, it will become confusing and persistent, and the person who wrote the book from the Nine Springs himself will also be surprised and dare not identify it as his own handwriting. ”
Kang Youwei said in "Guangyi Zhou Shuangzhang": I mean calligraphy is also like The Dharma, starting from the precepts, being proficient in Dinghui, being good at the source of the heart, being wonderful at enlightenment, and to the extreme, it is not something that can be passed on by mouth.
Whether it is the embodiment of Buddhist thought in the body of the book, or the connection between calligraphy and Buddhism, in fact, it is not possible to pass it on by mouth.
If you have little spare time, use pen and ink as an offering. And if I study Buddhism for three or two days and write for three or two days, can I see my mind clearly?
I hope that you who are reading books will be able to understand Buddhism and enter a new realm of calligraphy.