佛教自東漢明帝時期傳入中國，並在中國文學及藝術發展史上產生很深刻的影響。如經文啓發了詩人對音律規則的認識，並在思想上也激發了文人對禪風的興趣與追求。然而，印度文化雖然沒有對漢字書法產生直接影響，卻在內容與思想上有不一樣深刻的潛移默化。如書寫者透過大量專心抄寫經文的過程中，體悟、吸收了佛教文化的精神與理論，因而產生不少以書法聞名於世的僧人，如智永（約6–7世紀）、八大山人（1626－1705）、弘－法師（1880－1942）等都是僧人也是傑出的書法家。他們的墨寶傑作成為後世的偉大遺產，為後人在文化思想及學習書法歷程中的良好範本。法籍華裔哲學家熊秉明（1922－2002）說「書法是中華文化核心的核心」這句話很有力的、明確的表達了書法的地位和意義。筆者在本文中，將長年在真如苑佛教的學習與薰修配合書法習字之心得，進行深入的研究與統合，表現出學理與創作的結合與實踐。
本論文在架構上依序：
第一章緒論，第一節研究動機、目的與方法，第二節研究架構、流程表，第三節釋名（一）實相（二）薰修（三）佛藝（四）真如苑。
第二章真如修行佛法的實相義理與實踐體悟，第一節佛典的實相理論，第二節真如的本體思惟，第三節薰修的生命體悟。
第三章以佛入書的名家翰墨舉隅，第一節弘一法師－李叔同（1880－1942）佛藝書法，第二節西山逸士－溥心畬（1896－1963）的書法創作。第三節伊藤真聰（1942－）書法與信仰之美，
第四章是筆者的佛藝作品解析與論述（含創作發想與理念）。
第五章為結論，研究總結與心得，後續研究與未來期許。
Buddhism was introduced to China during the Han Dynasty and left a profound influence on the Chinese literature and art development. However, although Indian culture
did not have a direct impact on Chinese calligraphy, it had different results in terms of content and ideology. For example, People can realize and absorb the essence and theory of Buddhist culture through the process of writing the Sutras. As a result, many monks who are famous for their calligraphy have emerged, such as Zhiyong（ca.6th – 7th century） Bada Shanren（1626-1705）and Master Hongyi（1880 -1942）, all of whom are outstanding calligraphers and monks as well. Their masterpieces have become a significant part of their heritage and model of later generations in learning calligraphy.
In this thesis, the author conducts in-depth research and integration of her long-term practice with Shinnyo-En Buddhism as a lay practitioner and calligraphy experience, showing the combination and practice of academic theory and creation.
The paper is organized in the following order：The first chapter describes the research motivation，purpose，methods and the terms explanation (1) Dharmata
(2) Self-Cultivation（3）Buddhist Art（4）lay practitioner（5）Shinnyo-En
The second chapter discusses the Shinnyo practice: the first section is the theory of reality in Buddhism, the second section is original thought of Shinnyo, and the third section is the Self-Cultivation experiment. The third chapter introduces famous artists with their Buddhism Art Works. Section 1. Master Hongyi （1880－1942），Section 2. Xishan Yisu （1896－1963）Section 3. Shinso . Ito（1942～）The fourth chapter is the analysis of the author's Buddhist art works: included the idea and process of creation with the name of title, date, media and size.The fifth chapter is conclusion with research summary and experience, follow-up and future expectations.
