Chinese Buddhism Calligraphers Rheology

The Transits and Changes of the Calligraphy of Chinese Buddhism' is a book based on the development of Buddhism and An of China being the length; while taking comparison and mixing of the main trend of various versions of Chinese calligraphy as the breadth of the same period of time. The book is devoted in the research of Buddhist calligraphy in China with an approach of four historic parts. Wei Jin, Sui period; Tang Dynasty and Five Dynasties; Song and Yuan Dynasties; Ming and Qing Dynasties in an effort to study the transits and changes of Buddhist Calligraphy and try to come to a possible conclusion of Buddhist practices in keeping with tradition and creation which bringing up reforms and innovations in its development. The characteristics in each part of the history are found in the following chapters.The part of Wei Jin and Sui Dynasties: The trend of Buddhist calligraphy is chracterised in the practical use combined with the spread and dissemination of Chinese characters at the beginning, then expressing the religious feelings by writing Buddhist books and inscribing them in steles, and creating the two schools of Buddhist calligraphy of monks of Zhi Yong and Jing Tuo, the former being the classic and the latter being the creative, which have been the foundation of the art. It is proved by the fact that the Buddhist calligraphy goes in a good harmony with the development of Chinese calligraphy of that period of time, and it is emphasized that the influences and functions of Buddhist calligraphy and famous monk calligraphiers of that time, such as the vision value of Buddhist steles; Monk Zhi Yong and Zhi Guo have made great contributions to the construction and shape of Chinese characters in their books called 'Eight Constructions of The Character Yong' and *ln Praise of Men's Souls' which cast a big influence on the mature and development of Chinese calligraphy as a whole.Tang and Five Dynasties: This chapter explains the top period of Buddhism in China, while, in praise of Buddhism as the valuable essence of the belief, the Buddhist Calligraphy has given the world a marvelous and unique display of the wisdom and talents of Buddhist Masters of that time both in theory and practice and the chapter has also dealt with the specific characteristic of Buddhist calligraphy by stressing the initiative role of Monk Huai Sin's style of wild cursive hand on the main trend of calligraphy of Song Dynasty.The part of Song and Yuan Dynasties: This chapter contributes to the mixing trend of intellectuals with monks in calligraphy practice by the former ones inclining to the Buddhist and the latter trying to be officials at the time as a fashion which in itself has made a mutual penetration into each other and a mutual influence on each other as expressed in the further explanation of the mood approach of the Buddhists.The part of Ming and Qing Dynasties: This chapter has given us a fine study about how Buddhist calligraphy has been influenced by worldly values and the formation of the latter form the angle of history and religion. It has also provided us with the characteristics of Buddhist calligraphy at that time, such as depicting monks both famous for their painting and calligraphy talents through their efforts in Chinese painting to become step by step the renounced calligraphers at the end.