对于中国书法而言,通过历代文人的创作实践和理论阐述,禅宗已经逐渐渗透到了书法美学的各个方面。就唐代而言,体现这种禅境的主要是书僧的狂草。初唐处在一个重法的思想笼罩之下,从艺术创作的角度出发,来自理性逻辑力量的约束越多,有关直觉的呈现就会愈弱。中唐禅宗的非理性讲求直觉体验的思维方式,无疑是给艺术家们洞开了一个广阔的新天地,因为禅宗重直觉体验,并且不用逻辑性来推演它的因果主张,这一点,对于艺术是极有价值的。 For Chinese calligraphy, Zen has gradually infiltrated all aspects of calligraphic aesthetics through the writing practices and theoretical expositions of ancient literati. As far as the Tang Dynasty was concerned, the main feature of this kind of Zen was the monk’s madness. In the early Tang dynasty, under the weight of a heavy law, from the perspective of artistic creation, the more constraints from rational logical forces, the weaker the presentation of intuition. The non-rational way of thinking of middle-Tang dynasty emphasizing intuitive experience undoubtedly opens up a vast new world for the artists because Zen re-instates experience and does not use logic to infer its causal proposition, which is extremely great for art Value.