佛教源起印度，進入中國後，融合傳統文化與風土民情，化成中國式的佛教。至唐代，佛教發展達到頂點，善男信女，何止萬千，向佛之事，如出家、譯經、習禪、亡身、誦經、造寺興福等，皆是功德。其中，誦經尤是要緊，致朝野屢興造經，作為信徒持誦之需。一時抄經者眾，計有僧侶、書法家、書手、經生、信眾等，各色人士皆投其內，其勢之盛，前所未有。如此大規模的書寫活動，也促進了書法的發展。禪宗大興後，僧侶與文人頻有交游，經禪論道，舞文弄墨，屢傳佳話。於是僧人多有善書者，先是智永，後有懷素，聲名噪起，掀起一股草書風氣；加上中晚唐書壁、屏風的流行，張旭等名家的推波助瀾，使草書成為一種深入市井的表演藝術。寫經不僅是佛徒個人的修道課業，也能為人為社會消災追福。卷帙龐大的佛經多賴以傭書為業的經生完成，經生有官府經生和民間經生兩類。官府經生由造經使統籌督管，造經謹嚴；民間經生多籍沒無可考，或受僱於僧尼或信眾，主要在寺院抄寫。而付不起價錢的信眾，或親自抄寫，而不假手他人，或僱用僧徒或學子代抄。論寫經之盛，經生書法當占書史一席之地。然歷代書論對經生書法的評價，卻是負面者多，甚至貶其書法為「經生體」，其因不外是書以人貴的傳統價值使然，輕視地位不高、以寫字為職業的經生。然而隨著出土文獻不斷增加，經生書法逐漸為世人所知，並獲得有識者極高的評價。

Buddhism development in China reached the vertex in Tang Dynasty. Buddhist sutras chanting stimulated the demands of manuscripts. Monks, calligraphers, Shu-Shous, Jing-Shengs and worshippers were devoted to transcribe Buddhist sutras, hence Chinese calligraphy was developed rapidly. After Zen flourished, literati interacted with monks frequently. Together they discussed Buddhist doctrines and the art of calligraphy. Zhi-Yong, Huai-Su were two famous monks who specialised in Cursive Script. In the middle and late Tang Dynasty, the displays of Cursive Script on the walls and screens became a trend. Cursive Script turned into a performing art which was popular among people. Jing-Shengs played an important role in making manuscripts of Buddhist sutras. Transcribing Buddhist sutras was not only considered as a buddhist's personal work, but also a mean to pray for blessings and to avoid calamities for the whole society. Official Jing-Shengs were supervised by official directors, hence they labored carefully. Folk Jing-Shengs were employed by monks or worshippers, often worked inside the temples. To review the history of Chinese calligraphy, Jing-Shengs' works cannot be wiped away. However, Jing-Shengs style received negtive comments from each generation. Jing-Shengs were depreciated due to their low socioeconomic status and their occupation. As more Buddhist sutras manuscripts were unearthed, Jing-Shengs style has became well-known and been highly regarded.