在中国书法史上,禅僧墨迹是一个值得研究的课题。我们知道佛教发展到宋代,已经深入到思想文化的各个领域,其中与文学、诗歌、书画的关系尤为密切。当时除了文人士大夫积极参禅研佛之外,禅僧也主动参与文人士大夫之间的翰墨雅事,写书作画甚至成为禅僧重要的日课之一,出现了像克勤(一○六三—一三五)、宗皋(一○八九—一一六三)这样在书法史上赫赫有名的禅僧书法家。这对推动中国书法史的发展,有着重要的作用。但是禅僧的传世墨迹甚少,目前国内见到的也极为有限,这给我们研究禅僧书法造成了一定的困难。 In the history of Chinese calligraphy, Zen monk ink is a subject worth studying. We know that the development of Buddhism to the Song Dynasty, has been deep into all areas of ideological and cultural, of which the relationship with literature, poetry, painting and calligraphy is particularly close. At that time, in addition to the literati and physician actively participating in the study of Buddhism, the Zen monk also took the initiative to participate in the literati and physician’s conciliatory works. Writing and writing paintings even became one of the important day classes of Zen monks. There emerged such as Keqin (1036-355 ), Zong Gao (one eight eight nine - one six six three) so famous in the history of calligraphy monk calligrapher. This is to promote the development of Chinese calligraphy history, has an important role. However, there are very few ink monks handed down from the world. At present, there are also very limited domestic experience, which has caused some difficulties for us to study the calligraphy of Zen monks.