01 . 序 - Intro

02 . 試探“骨法用筆” - Exploring the "Bone Method" in Brushstrokes

03 . 中國畫形成“骨法用筆”的歷史根源及發展 - The Historical Origins and Development of the "Bone Method" in Chinese Painting

04 . “骨法”的法則之產生 - The Emergence of the Principles of the "Bone Method"

05 . 體現“骨法”的“用筆” - Expressing the "Bone Method" in Brushstrokes

06 . 筆墨之互相作用和滲透 - The Mutual Interplay and Influence between Brush and Ink

07 . “骨法用筆”的目的在於“攫神” - The Aim of the "Bone Method" in Brushstrokes Lies in Evoking Spirit

有不少青年同志，用中國的毛筆、宣紙、顏色和墨等繪畫用具作中國畫，也有些外國畫家用中國的毛筆、宣紙、顏色和墨等工具作中國畫。結果有不少人說美是美的、可不大像中國畫。確實，很多人都能用中國的繪畫工具畫出很美的畫，而且也覺得頗“新”。也有不少老畫家畫了很成熟很美的中國畫，大家欣賞之餘，說是中國畫，又説是“舊”了些。這究竟是甚麼原因呢？同是用中國畫的工具，而得出“像”與“不像”的中國畫來。

Many young artists use traditional Chinese brushes, rice paper, colors, and ink to create Chinese paintings, and some foreign painters do the same. While these works are often beautiful, people say they don’t quite feel like traditional Chinese paintings. It's true that many can use these tools to create beautiful, “new” works. At the same time, veteran painters create more mature, refined Chinese paintings, but people sometimes find them “old-fashioned.” So why is it that works made with the same tools sometimes feel like traditional Chinese paintings, and other times they don’t?

我想，這恐怕是作者創作方法的立足點的問題吧？工具有一定的表現功能和制約等條件，但看來工具不能決定民族風格。風格跟創作的方法方式是有關的，而創作方法方式則在於作者的思想和素養。是立足於中國傳統的創作方法而洋為中用的借鑒，並從而創出“中”的“新”呢？還是立足於洋的創作方法而借中國的工具用以表現“中”的“新”呢？這裡涉及的問題很多，例如：是熱愛祖國的文化傳統，加以學習提高出新，或者是對祖國文化的輕視而“虛無主義”的觀點，甚或崇洋思想，想以“洋”代“中”呢？看來問題很突出，是我們目前面臨著的原則向題。

This likely touches on the core of the artist’s creative approach. While tools play a role in expression and have limitations, they don’t define a national style. Style comes from how the artist creates, which is shaped by their thoughts and cultural background. Is innovation rooted in traditional Chinese methods but drawing from Western ideas to create something new within a Chinese context? Or is it based on Western techniques, using Chinese tools to express something new within Chinese traditions? Key questions arise, such as: Should we embrace and build upon our cultural heritage to innovate, or should we disregard it, adopting foreign ideas to replace our own? These are important challenges we face today.

而像不像中國畫，在我看來則關係到是否掌握到中國畫法的“骨法用筆”，與“筆墨” 等方法，也是中國畫形式上的一個核心問題。因此不是工具問題，也不只是技巧的問題，是一個帶有思想原則性的民族文化問題。因此在這裡提出我的一些肤淺而零碎的體會和觀點，試論“骨法用筆”與“筆墨”， 來共同研究。用以促進我們的學習和進步。

Whether something resembles Chinese painting, in my view, depends on whether the artist has mastered the "Bone Method in Brushstrokes" and the use of "Brush and Ink"—these are central issues of form in Chinese painting. Thus, it is not just a matter of tools, nor is it merely a matter of technique—it is a deep issue of national cultural identity tied to philosophical principles. Therefore, I offer some of my personal, albeit shallow and fragmented, reflections and insights, to explore the "Bone Method in Brushstrokes" and "Brush and Ink" together, in the hope of advancing our learning and improvement.

我雖然學了四十多年中國畫，可是像瞎子摸象，只是自己盲目的亂撞，沒有老師指導，進步很慢，我又從來沒有臨摹過一幅中國畫，不是傳統的學習方法，而靠讀畫去理解，學習，就難免瞎猜胡講，我嘲笑我自己是”野狐禪“，是旁門邪道。好在我們大家是共同學習的，自我教育，對或錯沒關係，而我則是抱著請教的態度，希望同志們提出批評指正。讓我可以再來修正我的觀點。

Although I have studied Chinese painting for more than forty years, it has been like a blind man feeling an elephant—just blindly fumbling around on my own without a teacher’s guidance, so progress has been slow. I have also never copied a single Chinese painting as part of my learning, which is not the traditional method of study. Instead, I rely on reading and interpreting paintings on my own, which inevitably leads to wild guesses and baseless explanations. I laugh at myself, calling it 'Wild Fox Zen'—a deviant, unorthodox path. Fortunately, we are all learning together, educating ourselves, and whether we are right or wrong doesn’t matter. I approach this with a mindset of seeking advice and hope that my comrades will offer criticism and corrections so I can revise my views accordingly.

南齊謝赫著名的繪畫“六法”，一曰“氣韻生動”，二曰“骨法用筆”，三曰“應物象形”，四曰“隨類賦彩”，五曰“經營位置”，六曰“傳移摹寫”。

Xie He's renowned Six Principles of Painting from the Southern Qi Dynasty are:

Spirit Resonance (氣韻生動) – conveying life through movement,

Bone Method of Brushstrokes (骨法用筆) – structuring with the brush,

Correspondence to the Object (應物象形) – capturing the form of the object,

Suitability of Color (隨類賦彩) – applying appropriate colors,

Division and Planning (經營位置) – composition and arrangement,

Transmission by Copying (傳移摹寫) – learning through study and imitation.

他把“骨法用筆”列為第二位，可見骨法用筆在中國畫中的至要。兹試就“骨法用筆”和涉及有關的“筆墨”問題進行探討。

在中國畫的創作中，作者在“情意”的作用下，其蘊釀和形成的過程，根據個人的學習體會，大體可分為三個階段和要求；而三個階段有時也互爲作用。

即一，搜形，二，度理，三，攫神。這些都是我自己杜撰的名詞。

He placed the Bone Method of Brushstrokes second, underscoring its critical role in Chinese painting. The Bone Method of Brushstrokes is a means of structuring, and I shall further explore this alongside related ideas of brush and ink.

In the creative process of Chinese painting, guided by the artist's intent (情意), the formation and cultivation of form can be divided into three main stages, based on personal experience. These three stages sometimes interrelate and influence each other.

The three stages are:

Shaping (搜形) – The formation of form,

Reasoning (度理) – The structuring of meaning,

Grasping the Spirit (攫神) – Capturing the spirit.

These terms are original coinages by the author.

為什麼“形”要搜呢？形是大家都能會意的，不形似，看不出畫的是什麼，但形之成“形”，有其多方面之表現。有整個，有片面，有細部，有近看的形，有遠觀的形，有外形，有隱之于外形某一隱面之外形。

在形之內蘊中，有質之不同，情性之不同而形之于外的外形。錯綜複雜，必須左看之，右觀之，近察之，遠視之，以至體之會之，甚至進入其中以探之。于是“形”非搜不可。不搜就不充分，不深刻，會變成浮光掠影。

Why must "shape" be sought?

Form (形) is something everyone can comprehend. Without form, it's difficult to tell what is being painted. However, the process of forming shape involves multiple layers of expression. It encompasses the overall form, specific sections, detailed aspects, close-up views, and distant perspectives. It also includes external shapes as well as the hidden form that lies within or behind the external form.

Within the inner essence of form, there are differences in quality and temperament, and these variations manifest in the outer form. This complexity necessitates observing from multiple angles—left, right, near, and far—and even entering deeply into the form to explore it. Thus, shape must be sought (搜), for without doing so, it remains incomplete, superficial, and lacking in depth.

所謂“度理”，就是經過所謂慘淡經營的“心運”過程，其中包括對象的去蕪存精，權衡虛實，調整格局，以至作者感情之進入，載物象以為表達，借物性以載我性的醖釀，合物理，合構圖之理的整體度理階段，此一過程對象之形質以確立之。

The term "Reasoning" (度理)

"Reasoning" refers to the laborious process of mind cultivation (心運), in which the artist refines their object by stripping away the unnecessary (去蕪存精), balancing the real and the abtract /illusory (虛實), and adjusting the composition (格局). This phase involves merging the object’s inherent nature with the artist's emotional intent. It is a comprehensive process where form, object, and composition come together harmoniously, establishing the fundamental framework for the painting.

貫串形質之個別至整體，成爲有機之聯係，就產生了“骨法用筆”以表達，作為物象和本質的存在，形成了藝術形象。

正是由於作者的精神，情意的滲透到物象，把握住物象與人們有共通之某種精神狀態現象的統一結合，以至借物象以載已性，形成了人們所樂於追求的“神”，希望達到氣韻生動，形神兼備的境界。而在整行過程以至結果，就貫串“搜神”的目的。

From the connection of individual forms to the whole, an organic relationship is established, which gives rise to the expression of the "Bone Method of Brushstrokes." This conveys the existence of both the object and its essence, forming the artistic image.

It is precisely through the artist's spirit and emotions permeating the object that a unified connection is achieved between the object and a shared spiritual state with people. By embedding their own essence into the object, the artist forms the "spirit" (神) that people seek, hoping to reach the ideal of "spirit resonance" (氣韻生動) and a harmonious balance between form and spirit (形神兼備). Throughout the entire process, from start to finish, the goal is to consistently search for and capture the "spirit" (搜神).

① 書畫同源

從“搜形”以至“攫神”，既然產生了以骨法用筆來立其形質的形象，這是長期以來的情況， 不是偶然的事實， 顯然有某歷史根源， 源于何在？ 即“書畫同源”的歷史過程。

The Common Origins of Calligraphy and Painting

From "Searching for Form" (搜形) to "Grasping the Spirit" (攫神), the creation of form and structure through the "Bone Method of Brushstrokes" has been a long-standing practice. This is not a coincidence but clearly has historical roots. Where do these roots lie? They lie in the historical process of "the common origin of calligraphy and painting."

我國從傳說中的黃帝時代倉頡造文字，史皇作圖畫，書畫就聯系在一起了。 傳說中的伏羲有龍書及八卦，(命飛龍氏造六書及八卦) 神農有八穗書，黃帝有雲書，其子少昊有彎鳳書，其曾孫高陽氏有科斗書，堯氏有龜書，禹作鐘鼎書，篆體作流水形，周文王及子武王有鳥書及魚書等之。凢此種之， 無不反映出以象形為文字以表達，形成“象形”文字。

In ancient China, during the legendary times of the Yellow Emperor, Cangjie created written characters and Shihuang created images, thus linking calligraphy and painting. According to legend, Fuxi had the dragon script and the eight trigrams (it is said that the Dragon Clan invented the Six Scripts and the Eight Trigrams). Shennong had the script of eight ears of grain, the Yellow Emperor had the cloud script, his son Shaohao had the curved phoenix script, and his great-grandson Gaoyang had the tadpole script. Emperor Yao had the tortoise script, Yu created the bell and tripod script, and the Zhuan script took on a flowing water form. King Wen of Zhou and his son, King Wu, had bird scripts and fish scripts, among others. All of these reflected the use of pictographs as writing to express meaning, forming what would later become "pictographic" characters.

以後， 以象形為基礎， 發展而成六書， 研習六書即象形， 指事， 會意， 形聲， 轉注，假借。于是， 書與畫也從此分工了。

Later, based on these pictographs, the Six Scripts developed. These include pictographs, indicators, associative compounds, phonetic compounds, specialized attention to correctness, and borrowed characters. From this point on, calligraphy and painting began to diverge into separate disciplines.

但是，表達形象的方法，有賴於骨法，表達書的形將也有賴於骨綫，書畫雖異其功能，而習慣的表現方法卻很類似。長期的互相影響，形成了共同的美學觀念。如用筆之美醜，結構之陰陽佈白，避就虛實等之法則。長期以來，這些美學觀點，形成了中華民族對於書畫的共同欣賞習慣。

However, the method of expressing form relies on the "Bone Method," and the expression of structure in calligraphy also depends on the "bone lines." Although calligraphy and painting serve different functions, their habitual methods of expression are quite similar. Over a long period of mutual influence, a shared aesthetic concept has emerged. This includes principles such as the beauty or ugliness of brushstrokes, the balance of yin and yang in composition, and the relationship between emptiness and solidity. These aesthetic ideas have long shaped the Chinese people's shared appreciation of calligraphy and painting.

其至視用筆之骨力，至視作畫之骨格，氣勢，以至風格上的風骨，意趣上的神骨，節操，其至作品上的畫皮畫骨之比較，形象上的譬之建築的營房造屋之至視骨架梁柱等之，已滲透入哲學，道德觀等之的意識在裏面，成為一種統一的審美觀點，至視華與質的有機聯系。以及形成寫實主義與“浪漫主義”的有機結合的主要表現形式。

In terms of brush strength and the structure of painting, momentum, style, the spirit of the form, and the integrity of the work—whether comparing the superficial and deeper layers of a painting or the structural framework of a building—these elements have already permeated philosophical and ethical consciousness. They have become part of a unified aesthetic viewpoint, connecting form and substance in an organic way. This has also led to the integration of realism and romanticism as key modes of expression.

而這種以“骨法用筆”的創作方法，在歷史上雖有外國的方法和風格的一連串影響，卻都吸收外國的長處，化為中國形式而大步的發展。我國從到南北朝至唐代，西域的“凹凸花”的帶有陰影或光暗面的作品傳到中國以后，而有張僧繇的帶立體形象的風格出現。以至有王維創水墨渲淡的水墨畫法，這是否可以理解為在原來的”骨法用筆“的”筆以立形質”，到滲入和豐富有“墨以分陰陽”的水墨畫風格，其表現方法是受外來西方法的影響而形成一大革新，一大發展呢？不難設想，會受西域（波斯，印度等）的帶有明暗透視的外國畫的影響的。

The creative method using the "Bone Method of Brushstrokes" has, throughout history, absorbed a series of foreign techniques and styles, integrating their strengths and transforming them into distinctly Chinese forms, which have developed significantly. From the Northern and Southern Dynasties to the Tang Dynasty, artworks from the Western Regions, such as those using the "convex-concave" method with shadows and light, were introduced into China. This led to the emergence of Zhang Sengyou's three-dimensional style. Later, Wang Wei developed the ink-wash painting technique, which focused on shading (墨以分陰陽). Could this be seen as a development from the original "Bone Method of Brushstrokes," which focused on creating structure, and a major innovation through the influence of Western methods? It’s not difficult to imagine. The influence of foreign art from places like Persia and India, with their use of shading and perspective, likely played a role.

所謂有筆無墨的吳道子，所創立的人物畫，其口唇不描輪廓綫， 而從彩色暈出的畫法，不無受外國的明暗法的影響。清代吴歷的山水畫，晚年受西洋的透視法影響，其後期作品的遠近處理方法，特別明顯，清末任伯年的寫意畫，著色有明显的受西洋畫影響的痕跡。然而不管歷史上的畫風如何變異和發展，可以看出其“骨法用筆”这一精神和特色，並沒有消失，而是不断的丰富和發展的。這很可能是由於“書畫同源”的深刻影響和作用使然，以至成爲中國畫的特色。

This influence also extended to Wu Daozi, who created figure paintings without outlining the lips but using color blending techniques that seemed influenced by foreign shading methods. Similarly, Qing Dynasty artist Wu Li’s later landscape paintings showed clear influence from Western perspective techniques, particularly in his handling of distance, and Ren Bonian’s expressive paintings from the late Qing period showed traces of Western influence in their use of color. Nevertheless, despite the variations and developments in painting styles throughout history, the spirit and characteristics of the "Bone Method of Brushstrokes" have not disappeared. Instead, they have continuously grown and developed, becoming richer over time. This is very likely due to the deep influence of the "common origin of calligraphy and painting," which has become a hallmark of Chinese painting.

②骨法之發展

假如我們來考察一下從古代的象形文字的圖樣，或一 些出土的原始陶器上的圖樣，那種用骨綫去表現形象， 到楚帛畫（出土）的人物、鳳鳥等的畫法，也都是以骨綫或輪廓線的簡單表現方法去表現形象，這種從骨綫去立形 的方法，到晉代顧愷之的“女史司箴圖”（傳）已大大的發展，不只是輪廓綫的“形相”作用，已出現了有很深刻 的筆意。即已具備不只是立形質，而且更具有載我象我情于物象物情的“骨法用筆”了。當然這一情況會出現得更早）由此可見骨法從輪廓之外形結構的“形相”的骨 法用筆”，發展到深入形象的本質中去；表達有作者的氣質和主觀情意（包括寄托作者的思想情操）與對象的特性精神、氣質結合在一體的“骨氣”“骨相”的“骨法用筆”， 已豐富和發展了“骨法用筆”的實際運用的意義。

Development of the Bone Method of Brushstrokes

The Bone Method of Brushstrokes, seen in ancient pictographs and pottery, initially focused on using simple bone lines and contours to depict shapes. By the time of Gu Kaizhi’s Admonitions of the Instructress to the Court Ladies in the Jin Dynasty, this method evolved significantly. It no longer served merely to outline shapes ("form appearance") but became a means to express deeper brush intention. The technique began to convey the artist's emotions, integrating personal feelings with the subject's spirit. Over time, the Bone Method transitioned from a focus on external structure to a deeper exploration of the essence of the subject, combining the artist's temperament with the subject's unique spirit, enriching its practical application and meaning.

因此“骨法用筆”將不只是輪廓綫的骨綫技巧問題， 將不同于描繪標本的解剖圖式的形綫。 由於它必須用筆意去表達，也從而產生了筆法、墨法的問題，（包括筆中有墨，墨中有筆）作者的主觀情意問題，又產生了作者的品格情操問題。所以“骨法用筆”從一幅中國畫的構成來說，不但是表現形象的基礎，以至成為中國畫的構圖創作表現方法的特徵，有別于外國的畫。 正因為從筆法相應到墨法的發展，互相滲透，互相為用， 這種特點，也構成了中國畫的特色了。

Bone Method of Brushstrokes

The Bone Method of Brushstrokes goes beyond simply outlining forms with bone lines; it differs from the anatomical style of drawing contours like in scientific illustrations. It requires the expression of brush intention, which introduces the techniques of brushwork and ink (including "ink within the brush, brush within the ink"). This also reflects the artist's emotions and character. As a key part of Chinese painting composition, the Bone Method is not only a foundation for depicting forms but has become a defining feature of Chinese painting, distinguishing it from Western works. The integration of brushwork and ink, where they influence each other, is what makes Chinese painting unique.

① 一幅畫中的“骨法”法則如何產生出來

各種各樣的人、物、山川、樹木，各有各的生態，各有各的構成本質和外貌，又因天時、環境之不同，各有各的情態；於是形成了各有不同或大同而小異的法則。這些客觀存在的真實性和規律性，有“共性”，有“特性”，如何去表現它，去抓住它的“法則”？這在作者主觀下，主觀與客觀存在的相互作用、人情受物情之感受，又作用於表達物情、物理，從而產生了充滿作者獨特見解的各種整體藝術形象。

How the “Bone Method” Emerges in a Painting

Every person, object, mountain, and tree has its own essence, its own way of being. The changing skies and shifting environments shape their moods and appearances. From this, different rules emerge—some are alike, others are unique. These truths of nature, with their shared and individual qualities, ask the artist: How will you reveal them? How will you capture their essence?

Through the artist’s gaze, the outer world stirs inner emotions. These feelings, in turn, give shape to expressions of both the spirit and matter of the world. From this dance of perception, the artist breathes life into images full of personal insight.

其中包括表達物象之質量和形的存在和結構，以及靜態或動勢，互爲貫串而形成規律，既有整體的藝術形象，其中又構成了一種表現形式的特有法則、以筆墨表達之，這就產生了“骨法用筆”，的不同法則。於是不少作品、有典型意義的皺法、描法、以后，又形成和被後人總結為各家的筆法。

Overall, the weight and shape of objects take form, still or in motion, weaving together into patterns and rhythms. There is always a larger, unified vision, yet within it lies a unique law of expression—brought to life by the brush and ink. This is the “Bone Method of Brushstrokes.” Over time, through the strokes that shade or outline, works of art evolve into the signature styles that define the masters of their craft.

② 骨法的法則是活的、發展的。

“骨法用筆”既然本身在歷史上不斷的發展，從簡單到複雜，從單純的輪廓綫到繁複的工細畫筆，又從繁複的工細畫筆到極簡略的大寫意畫筆，形成了千變萬化，因人而異、因時而異。同一景物，可以有繁簡不同的骨法表現、同一主題，也可以有繁簡不同的骨法表現。如歷史上唐代的李思訓和吳道子的同樣寫嘉陵江山水，一工一意，成為美談。明顯的表現出“骨法用筆”之靈活性。

The Principles of the “Bone Method” Are Alive and Evolving

The “Bone Method of Brushstrokes” has continuously developed throughout history, evolving from simple to complex, from basic outlines to intricate, detailed brushwork, and then to bold and expressive strokes. This process has led to countless variations, each influenced by the artist and the time. The same scene can be painted using different approaches to the Bone Method, whether simple or complex, and the same subject can be portrayed with varying levels of detail. For instance, during the Tang Dynasty, Li Sixun and Wu Daozi both painted landscapes of the Jialing River, but each had their own style—one careful and one bold—showing the flexibility of the Bone Method.

因此，對於深入生活的作者，其欲把握對象之骨法，必須善于創見，也即善於因時因地。因情因理去“搜形”，同一景物，於朝陽下有其骨法，於正午大陽正映之下有其與早晨不同之骨法，日偏西又有其形成之骨法。故必須善於去分別發現對象的情態。用以表達自已的見解，可不落常套，方是有生命的骨法。

For artists attuned to life, the Bone Method is a dance of creativity and adaptability. Each scene, from dawn to dusk, reveals its own essence. To capture this, the artist must keenly observe, blending emotion with reason, allowing insights to flow freely and avoiding the predictable. Only then does the Bone Method truly live.

所以古代大畫家居住的環境不同，見到的山川不同，以自身的體會，創為獨特的骨法。如范寬之居半山，終南山，董源之居江南，形成南北不同之山川皺法。其骨法之運用，俱源於生活。因此骨法用筆不能是生搬硬套的。於此，也可見中國畫的“骨法用筆”，是走向生活，深入生活的道路。沒有生活，則不可有正確和生命力的骨法。而“骨法用筆”既然是以意出之，則又體現了寫實主義和“浪漫主義”之結合。正是因文“骨法用筆”的精神在實踐上的複雜性與靈活性。因此，表現於名物畫的方法，方式上，不但工筆、粗筆、雙勾、寫意有骨法；甚至米點、泼墨、點綴花卉，沒骨花卉，其作畫之前，仍須理解其結構，藉骨法用筆之意以各自的方式成立，不然，將失去形質。

Ancient masters, shaped by the landscapes they lived in, found their unique Bone Methods. Fan Kuan’s mountain solitude, Zhong Nan Shan and Dong Yuan’s southern rivers gave birth to distinct styles, rooted in life, not imitation. Without this connection to life, the Bone Method loses its pulse, its vitality. Guided by intention, it bridges realism with romanticism, bringing complexity and grace to every stroke.

Whether through fine lines, bold strokes, or expressive gestures, the Bone Method is ever-present. Even in the fluidity of dots, splashed ink, or boneless flowers, understanding structure is key. Each artist must breathe their own life into the Bone Method, or the spirit of the work is lost.

這是因為各種事物之客觀存在及聯結，和外因形成對形象，為作者所掌握後，已在作者心中存在整體形象，而事物的本質和存在又在作者的見解和情思融合在一起並產生出主觀的藝術形象。這些形象，既經過作者的一定的理解，其質與華、虛與實，動與靜、激厲或舒緩，發而為筆墨，故從其表現之形式來說，有很明顯的以單綫或雙勾出之，很容易為人們所理解為骨法。而以粗筆點簇，或泼墨揮灑，以至花卉之沒骨法，很容易給人理解為沒有骨法。

This is because the objective existence and connections of all things, along with external factors, shape their form. Once the artist grasps this, a complete image already exists in their mind. The essence and existence of things, when fused with the artist’s insights and emotions, produce a subjective artistic image. These images, once understood by the artist, reflect qualities like grandeur or subtlety, emptiness or substance, movement or stillness, intensity or gentleness. These emotions are then expressed through brush and ink.

Thus, in terms of form, there are clear methods like single or double lines, which people easily recognize as the “Bone Method.” In contrast, rough strokes, clustered dots, splashed ink, or even the boneless flower technique may be misunderstood as lacking the Bone Method.

當然，以狹義來説，表現的方法是有不同的，但以理解事物内在之骨格形成，表現形質之所在，則同樣需要有其“骨法用筆”之意，用雙勾去表達其存在之骨法，與用一筆或合數為一筆一片去表現其存在之骨法，形成不同而已，其需要用筆意去表達其骨力和形質之存在及關係，則是一樣的，不過骨法或“顯”或“隱”罷了。沒有骨法則内涵的有機存在和整體形象，就難於表達，也就不能有整體的藝術形象，顯得支離破碎，沒有氣韻生動的感染力。

Of course, in a narrower sense, the methods of expression may differ. However, to understand the internal structure (the “bones”) of an object and to represent its form, one still needs to incorporate the intention of the “Bone Method of Brushstrokes.” Whether through double lines to express the bone structure, or by using a single or combined stroke to represent the object’s form, the difference lies only in the method, not in the underlying intention.

In all cases, the purpose is to express the force and structure of the object’s form and the relationship between them. This remains consistent, whether the Bone Method is obvious or hidden. Without the Bone Method, the organic essence and overall form are difficult to convey, and the artistic image becomes fragmented, lacking the dynamic vitality that moves the viewer.

故從我國古代遺留下來的早期的畫，如楚帛畫、晉顧愷之女史可箴圖，唐周昉之簪花仕女圖等等，所用骨法，多屬用綫或雙勾去表現人物樹石，至宋代的山水人物畫，則有潑墨人物，水墨山水，如梁楷之潑墨仙人，董源之瀟湘圖等。骨法已有的滲透隱沒于筆墨中，米元章之“米點”，以及其后各代之寫意花卉及沒骨花卉，其骨法更可見在著筆之前。

From the early paintings left behind by ancient China, such as the Chu Silk Manuscript, Gu Kaizhi's Admonitions of the Instructress from the Jin Dynasty, and Zhou Fang's Court Ladies Wearing Flowered Headdresses from the Tang Dynasty, the Bone Method was often expressed through lines or double-line techniques to depict figures, trees, and stones. By the Song Dynasty, in landscape and figure paintings, there was more use of splashed ink for figures and ink wash for landscapes, such as Liang Kai's Immortal in Splashed Ink and Dong Yuan's Xiao and Xiang Rivers.

By this time, the Bone Method had already subtly merged into the brushwork. In Mi Fu’s Mi Dots and later generations’ expressive and boneless flower paintings, the Bone Method can be observed even before the brush touches the paper.

形成其理解結構后以縮綫成點，或合綫成片以表達，故其表象似為沒骨或點，而實則在創作過程中，已把骨法融化為各種筆意，成爲筆墨淋漓之形象，這可說是骨法之發展，和多方面之表現方法。而也是以骨法為基礎的筆墨。可以説，骨法的法則是活的，而且是在繼續發展的。

The understanding of structure is expressed through reducing lines to dots or combining lines into patches, so what may appear as boneless or dot techniques actually incorporates the Bone Method. In the creative process, the Bone Method blends into various brush techniques, becoming the vivid imagery of flowing ink. This can be seen as the evolution of the Bone Method and its diverse ways of expression, all fundamentally based on the Bone Method.

In summary, the principles of the Bone Method are alive and continue to develop.

③"骨法用筆"在構圖中的作用

人們習慣把風景畫面分成近、中、遠景，這只是大體去認識其區分透視的遠近而已。而在實際的創作上，假如這樣將呆板去指導自己的中國畫山水構圖，則將千百輻流于同一樣版，平庸無味，多見而生厭，故中國畫山水雖有分疆三曡兩段的章法（構圖）之說，也是比較刻板的說法。所謂分疆三曡， 即一層地，二層樹，三層山。兩段即景在下，山在上，謂雲在中，隔為兩段。

The Role of the "Bone Method of Brushstrokes" in Composition

People are accustomed to dividing landscape paintings into foreground, middle ground, and background. This is merely a general way to understand the distinction between near and far through perspective. However, in actual creation, if one rigidly applies this method to guide their own Chinese landscape painting compositions, the result will be hundreds of works flowing in the same monotonous style—mediocre and dull, often leading to viewer fatigue. Although Chinese landscape painting has rules about layering compositions, such as the "three-levels-two-segments" method (composition), this remains a rather rigid approach. The so-called "three levels" refer to the ground, the trees, and the mountains. The two segments mean the scene is below, the mountains above, and clouds in the middle, dividing the two segments.

但中國畫畢竟是以立意為主導的，而且藝術不同於科學，不能都以照相機的焦點透視去范圍創作的構思。因此構圖要服從作者的立意去表達，貫串于畫面是要以理、氣來指導和運用的，畫面或千里百里，或咫尺，十丈，百丈，其中雖有近中遠大致之分，或山形步步改變，雲氣或續或斷，山谷層層推移，互爲交叉，幽深，開闊，高低，層次，

However, Chinese painting is ultimately guided by artistic intent (立意), and art is different from science; it cannot rely solely on camera-like focal perspectives to guide the conceptualization of a work. Therefore, the composition should follow the artist’s intent for expression, and throughout the painting, it must be guided by both reasoning (理) and qi (氣). Whether the painting spans a thousand miles or a short distance, ten feet or a hundred feet, while there may be a rough division of foreground, middle ground, and background, the shape of the mountains may change step by step, clouds may continue or break, valleys may shift layer by layer, crossing over each other, deep or open, high or low, with various levels of complexity.

如以近中遠強為區分之，則氣脈已斷，而實際景物中，從近而遠，中間幾多層折，故以理，氣作構圖之指導，體現于以“骨法”作整體念為“心運”。即服從于主題之需要，而以骨法貫穿之，其中虛實相生，全在有形與無形之骨氣為開闔，以筆法墨法表現之，方為靈活。

If one rigidly adheres to a division based on near, middle, and far, the qi will already be broken. In reality, from near to far, there are many layers in between, so composition must be guided by reasoning (理) and qi (氣), embodied in the overall conception driven by the "Bone Method" (骨法). It should serve the needs of the theme, with the Bone Method running throughout, where form and void give rise to each other. This is governed by the energy (骨氣) of both the tangible and intangible, expressed through brush and ink techniques, resulting in a flexible and dynamic composition.

骨法既有賴于用筆去表現，歷來對用筆有很豐富的實踐經驗，首先是執筆的方法，多數人以“撥釘法”為法，也有人用“平複法”、“鳳眼法”等等方法，於是有執筆無定法之說。或一畫家，祇是需要而兼用不同之執筆法，兹不贅言。

The "Bone Method of Brushstrokes" relies on the brush to convey form, and throughout history, there has been a wealth of practical experience regarding brush technique. First and foremost is the method of holding the brush. While many adopt the "nail-driving method," others employ the "flat-stroke method," "phoenix-eye method," and various other techniques. Thus, it is often said that there is no fixed method for holding the brush. Some painters may even adapt and use different methods depending on their needs, a point which I shall not elaborate further.

由於各人之習慣或表現方法及意趣之不同，而有“圓筆”和“方筆”之趣味，圓筆之綫呈圓感，筆劃之中心有一道較濃之墨綫，為筆尖在中心聚墨之表現，篆筆多用之，古人說的“如錐畫沙”，仿佛近之。因用錐畫沙，錐鋒之痕在中心參差擠出，方筆呈平方之情態，為筆鋒展而，聚墨于筆劃邊緣各有一墨綫之情趣，隸書多用之，所謂“如印之泥”。既見筆力與紙貼合，似印泥之受壓，擠漬于印文之邊緣，有力透紙背之趣。而兩者俱筆致絕去痕跡，妙有自然之趣，為歷來書畫家所樂道。

Due to individual habits, styles of expression, and artistic inclinations, there is a distinction between the "round brush" and "square brush." The round brush creates lines that exude a sense of curvature, with a thicker ink line running through the center—a result of the brush's tip concentrating the ink in the middle. This is often used in seal script (篆書), akin to the ancient saying "like a cone drawing on sand," evoking the image of a pointed tool leaving uneven traces in the center. On the other hand, the square brush produces a more squared-off effect, with ink gathering along the edges of the stroke, reminiscent of "a seal pressed into clay." This technique is frequently employed in clerical script (隸書), where the pressure on the brush causes the ink to pool at the edges of the stroke, leaving an imprint with a force that seems to penetrate the paper. Both approaches, when mastered, leave no trace of effort, achieving a natural, effortless beauty that has been cherished by painters and calligraphers for centuries.

從指揮筆的方式來説，有中鋒，偏鋒，臥鋒，衂鋒等之活用，有筆尖、筆腰、筆根、整筆、破筆、拖筆等之變化。由於用墨用水之不同的關係，還有濕筆、渴筆等之運用方法。

As for the manipulation of the brush, there is a dynamic range of techniques such as using the central tip (中鋒), the slanting tip (偏鋒), the lying-down tip (臥鋒), or even the dragging tip (拖筆). These techniques involve using different parts of the brush, from the tip, the body, to the root of the brush, each bringing about distinct variations. Additionally, depending on the balance of ink and water, there are also techniques like the wet brush (濕筆) and the dry brush (渴筆). These methods, when skillfully applied, result in the creation of expressive works that reveal the brush's power and fluidity.

在運筆的目的要求不同上，還有枕腕、提腕、懸腕、運指、運腕、運肘，運臂等不同的方法，但是，古人再三說過的，“筆不脫不靈” 確實很有理的，所謂“脫” 恐怕是指要排除內因和外因的一切束縛吧。就是說，用筆時要排除困擾，才能自由發揮，達到生動靈妙。

In terms of the purpose and requirements of brushwork, there are various methods such as supporting the wrist (枕腕), lifting the wrist (提腕), suspending the wrist (懸腕), and movements involving the fingers (運指), wrist (運腕), elbow (運肘), and arm (運臂). However, the ancient saying, "The brush must be free from constraint to achieve liveliness" (筆不脫不靈), holds much truth. The idea of "freedom" (脫) likely refers to the need to eliminate all internal and external constraints. In other words, when using the brush, one must remove all hindrances in order to freely express oneself, achieving a dynamic and mystical quality in the artwork.

①筆貴得“真”

上面說過的，用筆要去“脫”，要排除一切困擾，唐張彦遠曾評論顧（愷之) 陸(探微) 張(僧繇) 吳(道子) 的用筆時說過：守其神，專其一，合造化之功，假吳生之筆，向所謂意存筆先，畫盡意在也。又說：“真” 畫一劃見其生氣，夫運思揮豪，自以為畫，則愈失於畫矣。運思揮豪，意不在於畫，故得於畫矣，不滯於手，不凝於心，不知然而然……。

1/ Achieving "Truth" in Brushwork

As previously mentioned, the brush must be freed from all hindrances. The Tang Dynasty art critic Zhang Yanyuan once commented on the brush techniques of masters such as Gu Kaizhi, Lu Tanwei, Zhang Sengyao, and Wu Daozi, saying: "Maintain the spirit, focus entirely, and align with the forces of nature. Borrow the brush of Wu Sheng (Wu Daozi), where intention resides before the stroke, and even after the painting is complete, the meaning endures." He further stated that "truth" is revealed when a single stroke expresses vitality. Zhang also emphasized that when an artist overthinks and consciously tries to paint, the more they drift away from the essence of the painting. True artistry lies in a state where thought guides the brush, yet the intention is not solely in the act of painting. In this way, the artist achieves true expression, free from fixation in hand or mind, resulting in an effortless and spontaneous creation—"unconsciously knowing" the work.

這可見用筆時應已先有對要表現的形象之深刻和全面之理解，並形成生動之藝術形象，揮寫時不受一切之困扰和束缚，(包括前人或他人的固定方法的束缚，心手相应情意精專於自己得到的形象，率真的表達出來。才能得“真“， 才算可贵的獨創。也才有作者的“個性”。

This demonstrates that, when using the brush, there must already be a profound and comprehensive understanding of the image to be expressed. Only through this understanding can a vivid artistic form emerge. In the act of creation, the artist must be free from all constraints and hindrances (including the limitations imposed by past masters or others). When the mind and hand are in harmony, with emotions deeply focused on the image the artist has grasped, the expression will be genuine and truthful. Only in this way can valuable originality be achieved, and the artist’s unique "individuality" truly expressed.

宋韓拙也説過：”密契造化，與道同機“。就是説明這種得”真“的情況。

於此，也可見筆要得”真“，其首先必須深入生活，去體會，去理解，才能有根有據，產生出藝術形象。不然，可以説是斷然不能達到的。也正如石濤説的：”筆非生活不神“的意思，假如生活充實了，運筆時能排除干擾，（包括他人所創立的藝術形象及樣本）守其神，專其一，那麽，用筆將如五代荊浩説的，”雖依法則，運轉變通，不質不形，如飛如動“，那樣富於表現力了。

Song Hanzhuo also said, "Deeply aligned with nature, in harmony with the Dao" (密契造化，與道同機), which explains the state of achieving "truth" (真) in brushwork. This shows that, for the brush to attain "truth," the artist must first deeply immerse themselves in life—to experience and understand it—so that their work is grounded in reality, giving rise to genuine artistic expression. Without this foundation, it is impossible to reach such a level. As Shitao said, "Without life, the brush has no spirit" (筆非生活不神), meaning that if life is rich and full, the artist can eliminate all distractions while using the brush (including the influence of others' artistic forms and examples) and focus solely on capturing the spirit. In this way, the brush will exhibit the expressive power described by Jing Hao of the Five Dynasties: "Though following rules, it moves and adapts freely, without being constrained in form, as if flying and in motion" (雖依法則，運轉變通，不質不形，如飛如動).

② 用筆之“連”與“脫”

用筆有“連”和“脫” 的不同格調，所謂“連”，如陸探微的”一筆畫“之類，即有始及終，筆有朝揖，連綿相屬，筆之氣脈貫通，一筆扣一筆，需要意存筆先，筆周意内，畫盡意在，象應神全，可見之於骨法之嚴寬。

2/ The Brush Techniques of "Continuity" and "Detachment"

Brush techniques have different styles, known as "continuity" (連) and "detachment" (脫). "Continuity" refers to techniques like Lu Tanwei's "one-stroke painting," where the brushwork flows from start to finish with seamless transitions. The brush's energy remains unbroken, each stroke leading into the next. This requires the artist to have intention before the brush touches the paper, with the meaning continuing even after the painting is complete. The form and spirit are fully realized, exemplifying the precision of the "Bone Method" (骨法).

“脫”則所謂意到筆不到之意，不脫即不靈活超脫，狀若女人描綉花稿，軟弱呆板，沒有神氣。必須筆斷意不斷，如張彥遠之描述張僧繇，吳道子之用筆：”筆才一二，象已應焉，離披點畫，時見缺落，此雖筆不周而意周也“。而操縱卻在於運腕，如石濤説的，腕若虛靈，則畫能折變，筆如截揭，則形不癡蒙。

"Detachment," on the other hand, refers to intention arriving where the brush has not yet gone. Without detachment, the work lacks flexibility and becomes stiff and lifeless, like a woman sewing a flower pattern—soft but without vitality. The brush must stop, but the intention must carry on, as described by Zhang Yanyuan in his commentary on Zhang Sengyao and Wu Daozi’s brushwork: "With just one or two strokes, the form is already there. Though there may be gaps, the overall intention is complete, even if the brushwork is not continuous." Mastery lies in controlling the wrist, as Shitao noted: "If the wrist is light and agile, the painting will bend and transform. If the brushwork is sharp and decisive, the form will not become dull or lifeless."

“連”與“脫”，雖似矛盾，實則同歸於作者之“心運”，即胸中已具整體之藝術形象，內涵十分充實，於是虛腕擊之，筆無滯礙，或“連”或“脫”，皆為妙筆。或筆周神全，或筆脫情現，或連綿不斷，或錯落突兀，俱皆妙趣橫生，形成了生動的骨法用筆。

Though "continuity" and "detachment" may seem contradictory, they ultimately converge on the artist's "heart movement" (心運). This means that the artist already holds a complete artistic image in their heart, rich with internal understanding. Thus, using an agile wrist, the brush moves without obstruction. Whether the strokes are continuous or detached, the brushwork will be skillful. The brush may capture the full spirit or express emotions freely, whether in unbroken strokes or abrupt gaps, resulting in dynamic and lively "Bone Method" brushwork.

③用筆之必須有“意氣”

說中國畫用筆之必須有“意氣”，我們試來讀讀唐張彥遠的一段議論：

“開元中將軍斐旻善舞劍，道子觀旻舞劍，見出沒神怪，既畢，揮豪益進。時又有公孫大娘亦善舞劍器，張旭見之，因爲草書，杜甫歌行述其事，是知書畫之藝，皆須意氣而成，亦非懦夫所能作也“。

3/ Brushwork must possess "spirit and vitality."

This passage highlights that Chinese painting and calligraphy must contain "spirit and vitality." Zhang Yanyuan from the Tang dynasty provides an example:

"During the Kaiyuan era, General Fei Min was skilled at sword dancing. Daozi watched his dance, inspired by its divine-like movements, and improved his brushwork. Zhang Xu also saw Gongsun Da-niang’s sword dance, which inspired his cursive script. Du Fu wrote about this, showing that calligraphy and painting require spirit and passion, something that can’t be achieved without courage."

生動的表達了書畫家必須要有”激情“，而且各種藝術是互相影響的，畫家必須藉鑒於其他藝術以豐富自己的表現能力。或借某種激情，激發自己的感情。

畫家對於生活，有所感受，有所激動，喜，怒，哀，樂，情不自己，非表達不可，於是假筆墨以抒發之，這過程，自有”意氣“之表達。

This shows that artists must have passion, and different forms of art can influence one another. Painters should learn from other arts to expand their skills and express their emotions.

When an artist feels deeply about life—joy, anger, sorrow, or happiness—they naturally want to express these feelings. They use brush and ink to release their emotions, which is where "spirit and vitality" come through. Without this emotional energy, art can feel empty.

假如説，作者是情緒鬱勃，形之於激烈雄偉，縱横姿肆之筆致者，是謂之能於如氣。其或寫幽靜抒情冲和之意境，則需如春蠶之吐絲，綿綿不断，如訴哀曲，如春雲之出岫。於幽谷冉冉而出，極盡真摯感情之傾露，是也謂之得意。

可知作畫必須是作者内心感情之表現，當然，這將源於作者的世界觀和品格，即必須源於正確的，健康的，進步向上的世界觀和高尚的情操，才能有益于社会。

If the artist is filled with strong emotions, they express it through bold, powerful, and free-flowing brushstrokes, which are seen as energetic. If they want to create a calm, lyrical atmosphere, their strokes should be soft and continuous, like a silkworm spinning thread or spring clouds rising from a valley, gently revealing their sincere feelings—this is considered expressive.

In short, painting must reflect the artist's inner emotions, which come from their worldview and character. To create meaningful art, the artist needs to have a positive, healthy, and uplifting outlook, along with noble values, for their work to benefit society.

④"筆势"，在創作上的活躍表現

人們在創作過程中，對於"筆势"，是特別重視的，特别是寫意畫，更有其特殊之意義，清笪重光説過：“得势” 則随意經營，一偶皆是，失势則盡心收拾，滿幅都非"。 可知其重要。又說：“势之推挽，在於幾微，勢之凝聚，由乎相度”。可知掌握之微妙。但這是近於構圖之势的説法，即把"筆势"揉合貫串於構圖章法中去了。

而對"筆势"的運用和各各具備的特色，五代荊浩說過：“幾筆有血氣；謂筋，肉，骨，氣。筆絕而不斷謂之筋， 起伏成實謂之肉；生死剛正謂之骨；跡畫不敗謂之氣”。

4/ "Brush Momentum" and its Lively Expression in Creation

In the creative process, great emphasis is placed on "brush momentum" (筆勢), especially in freehand painting, where it holds a unique significance. Qing dynasty artist Da Zhongguang once said, "When brush momentum is achieved, every stroke flows effortlessly, and everything works in harmony. When it is lost, no amount of effort can save the painting, and the entire work falls apart." This highlights its importance. He also said, "The push and pull of momentum is found in the subtle, and its cohesion depends on balance." This shows the delicate nature of mastering momentum, which is closely tied to the composition, blending and weaving the brush's energy into the structure of the painting.

Regarding the use of "brush momentum" and its distinctive qualities, the Five Dynasties painter Jing Hao said, "A few strokes carry life force; this refers to tendons, flesh, bones, and spirit. A stroke that is unbroken has 'tendons'; the rise and fall that creates fullness is the 'flesh'; firmness in life and death is the 'bones'; and an enduring mark without flaw is the 'spirit'."

又說：“墨太質者失其體，氣微者敗正氣，筋死者無肉，跡斷者無筋，苟媚者無骨“。則可知“筆势”和作者的技巧 修養以至和作者的性格，人格修養有很密切的關係。因為作者的一切內在的東西，會自然而然的表達在他的筆致中。俗話说：“畫如其人”，不無一些道理。

从整幅作品在創作上的運用"筆势"，来看相互之間的關係，則可見其在全圖中的十分活躍的表現，牽一發而動全身。一筆既下，十筆百筆從之，順逆，呼應，起承， 轉合，左旋，右突，上下交叉，虚實相生。

It is also said, "Ink that is too dense loses its form; weak energy ruins the true spirit; dead tendons lack flesh; broken strokes lack tendons; and if the work flatters superficially, it has no bones." This shows that "brush momentum" is closely related to the artist's skill and character development. Everything internal to the artist is naturally expressed through their brushstrokes. As the saying goes, "A painting reflects its creator," which indeed holds some truth.

In the overall application of "brush momentum" in a work, the relationships between the elements become clear, showing its lively presence throughout the composition. One stroke leads to another, with each stroke responding and interacting with the whole. As soon as one stroke is made, ten or a hundred strokes follow, flowing in harmony, responding to one another, rising and falling, turning and connecting, moving left and right, crossing up and down, with the interplay of the solid and the void.

一筆本身有爲整幅構成的必要之勢，集千萬筆之勢，互爲呼應推挽，而形成千軍萬馬，浩浩蕩蕩的陣容為全局之勢。正像石濤說的：“一畫者，眾有之本，萬象之根·”那樣。“筆勢”，這是貫串整個的情緒，是在“骨法用筆”的整體形象的基礎上展現出來的。

A single brushstroke inherently carries the necessary momentum for the composition of the entire piece. The gathering of countless brushstrokes, mutually echoing and pushing each other, forms an imposing scene like a mighty army in full force, creating the overall momentum of the work. Just as Shi Tao said, "A single stroke is the foundation of all existence, the root of all phenomena." The "brush momentum" (筆勢) refers to the emotion that permeates the entire piece, which is expressed on the foundation of the overall form achieved through the "Bone Method of Brushstrokes" (骨法用筆).

⑤用筆貴有“虛實”

用筆既要求得“勢”，如何使筆之運用得到“勢”呢？ 這就需要懂得“虛” “實”，所謂虛實相生。清方薰說：”古人用筆，妙有虛實，所謂畫法，即在虛實之間，虛實使筆，生動有機，機趣所之，生發不窮“。

這是説的頗有道理的，因為一筆既下，下一筆就要依據前一筆加以發展開去，如果筆筆都實，沒有可以生發下去的機趣，也即預感，暗示，意向等等的用筆的傾向，即有”虛“的想象或發展的餘地，必將顯得呆板。所以用筆必須正反虛實，旁見側擊，意之所之，著手生發，才能生動。這叫做”氣機“。

5/ On Brushstrokes, the Importance of "Void and Solid"

Since the use of brushstrokes requires achieving "momentum," how can we ensure that the brush's movement gains this momentum? This depends on understanding the balance of "void" (虚) and "solid" (實), as they give rise to each other. Qing dynasty artist Fang Xun said: "The ancient masters' use of brushwork was marvelous in its balance of void and solid. The essence of painting lies between these two. By using void and solid in brushstrokes, they become lively, organic, and full of limitless potential."

This makes perfect sense, because once a stroke is laid down, the next stroke must build upon the previous one. If every stroke is too "solid," there will be no room for the next to develop with liveliness, foresight, hints, or intention. The "void" offers imagination and space for further development; otherwise, the work will appear rigid. Thus, brushstrokes must combine both positive and negative space, indirect suggestions, and subtle hints, allowing the piece to come alive. This is what is called "qi movement" (氣機).

因爲"實”是要靠“虛”來展示的，“虛”是要靠“實”來生發的，生生不窮，從“虛”，“實”之間不斷闡發出來，於是質感，動態，隱定，流動，輕重，動勢的暗示，等等就可以表達出來，形成了生動的筆勢，引出了精神和氣韻。

所以說，運筆要有“虛實”，才能見到瀟灑的筆力。而方法則在于“挑剔頓挫”。有挑剔頓挫，筆致才有折變，才能有“氣機”可以生發。

Because the "solid" relies on the "void" to be expressed, and the "void" depends on the "solid" to develop, they continuously give rise to each other. Through the interplay of "void" and "solid," various elements such as texture, dynamics, stability, fluidity, lightness, heaviness, and the implied movement can all be conveyed. This creates lively brush momentum, evoking spirit and resonance (氣韻).

Therefore, brushwork must have both "void" and "solid" to display elegant strength. The method to achieve this lies in the use of "refinement and modulation." With refinement and modulation, brushstrokes have variations and can generate "qi movement."

操筆之靈活使用，又取之於用腕，石濤談到運腕能虛靈，則畫能折變，筆如截揭。用筆在虛，實，正，仄，疾，遲，化，變，奇，神等等的手法使用下，可以產生了各種不同的效果。

因此，要使筆下有變化，有虛實，必須掙脫拘謹和束縛，在運腕的方法和實踐中，認真的進行鍛煉。

The flexible use of the brush comes from the wrist. Shi Tao discussed that when the wrist movement is light and nimble, the painting can have transformations, and the brush moves like cutting and lifting. Using techniques such as void and solid, upright and slanted, fast and slow, transformation and change, strangeness and spirit, a variety of effects can be created.

Thus, to create brushstrokes with variation and balance between void and solid, one must break free from restrictions and practice diligently in wrist techniques and execution.

⑥形象與用筆

在創作上，假設有了某種主題，某種感受，於是在醖釀的過程中，很快的或逐漸地形成了某一意境，以至某一部分或整體的形象，這時有把握地以某種恰恰當的筆法表現真實情意的形象，這時有把握地從某種恰當的筆法表現真實情意的形象。假如對形象確已有很深刻的理解，下筆很果斷，很中肯，充滿着自信，作者的激情和所有表現的對象的精神，動態揉合在一起，而這種結合，在欣賞者的感受中，同樣也可以使人感覺到，那麽，這種用筆是有力量的，是有感染力的。是畫家所應追求的。

6/ Image and Brushstrokes

In artistic creation, once a theme or sentiment is established, during the process of cultivation, an artistic conception—whether partial or holistic—will rapidly or gradually take form. At this juncture, the artist must skillfully employ the appropriate brush technique to accurately convey the image and the genuine emotion behind it. If the artist has gained profound insight into the image, the brushstrokes will be decisive, balanced, and executed with confidence. The artist’s passion, intertwined with the spirit and movement of the subject, becomes seamlessly integrated into the work. This union, when experienced by the viewer, evokes the same resonance, allowing the viewer to perceive the underlying power and emotion within the brushwork. Such brush technique, imbued with vitality and expressiveness, represents the ideal that a painter should aspire to achieve.

但是，這裏應該指出的，不管用抒情柔和的筆意，或激動振奮的筆意，其目的是在於爲了表現生動的形象，而不是爲了炫耀筆力，筆力是應該滲透到形象中去的，成畫以後，應該是令人首先看見某種有整個的生動形象，而不應看見凌亂，喧器和刺眼的筆跡。

因爲用筆空浮，炫耀筆力，離開與形象的内涵關係，游離於形象的精神之外，虛飾筆意，矜誇超脫，見筆不見整體的形象，這將使作品不“真”。沒有成竹在胸，生動的形象活動于心曲，沒有熟練的用筆技巧，去果斷的，準確的表現對象内在的精神和表之于形體的整個形象，用筆將缺乏力量，不能動人，不能達到生動的用筆。

In Chinese painting, whether the brushstrokes are soft and expressive or strong and energetic, the aim is to create a vivid and lively image, not to showcase the artist's skill with the brush. The strength of the brush should blend naturally into the image. When the painting is complete, viewers should first see a lively and unified form, not chaotic or attention-grabbing brush marks.

If the brushstrokes are used just to show off, without connecting to the deeper meaning of the image or the spirit of the subject, the work will feel false. Without a clear vision of the image in the artist's mind and skilled technique to express the subject's inner spirit and overall form, the brushwork will lack impact and fail to move the viewer. Only when these elements are combined can the brushstrokes bring the painting to life.

因此也就不可能有動人的藝術形象。形象與用筆的關係應該如此，這也如古人説的，“名畫無筆跡”。

因此，是否可以說：形象有賴於高超的用筆之闡發和美化，而用筆有賴於形象作依據并受其制約。

As a result, it is impossible to create a moving artistic image. The relationship between the image and the brushwork should be like this, as the ancients said, 'A masterpiece shows no trace of brushstrokes.'

Therefore, can we say that the image depends on the skillful use of the brush to develop and enhance it, while the brushwork relies on the image as its foundation and is guided by it?

⑦名畫無筆跡

宋趙希鵠談到“名畫無筆跡” 説過：“畫無筆跡，非謂其墨淡模糊而無分曉也。正如善書者蔵筆鋒，如錐畫沙印泥耳。書之蔵鋒在乎執筆，沉著痛快人能知善書執筆之法，則能知名畫無筆跡之說“。

這又關係到書畫藝術的相貫通的問題了。

7/ Masterpieces Show No Trace of Brushstrokes

Song dynasty scholar Zhao Xigu once discussed the idea that "masterpieces show no trace of brushstrokes," saying: "The absence of brushstrokes in a painting does not mean that the ink is faint, blurred, or indistinct. It is like how a skilled calligrapher hides the tip of the brush, as if carving into sand or pressing into mud. The hidden brushwork in calligraphy comes from the way the brush is held. If one understands the technique of how a master calligrapher holds the brush, then one can also understand the concept that a masterpiece shows no brushstrokes."

This also touches on the interconnected nature of calligraphy and painting as art forms.

當然，這是從運筆的修養技巧來説明，精妙的運筆技巧，可使筆致含蓄，貼實，有勁，妙合自然。但是，這是必須對表現的對象，有”成竹在胸“的基礎才能去運用它，而”成竹在胸"則必源于對對象的骨骼神氣，結構之組成有連貫之理解，此種連貫之理解，合而構成為骨法，現而成整體之藝術形象。 運筆成之，“全其神韻”乃有“骨法用筆”之意。

This explanation focuses on the skill and technique of brushwork. A well-executed brushstroke can be subtle, solid, powerful, and naturally harmonious. However, this can only happen when the artist has a clear and fully developed vision of the subject. This understanding comes from knowing the subject’s structure, spirit, and how its parts connect. This connection forms the foundation, known as the 'Bone Method,' which leads to a unified artistic image. When the brushwork is done, it captures the essence of the subject, demonstrating the 'Bone Method of Brushstrokes'.

這就能夠使觀者首先得到作者想表現意境和形象，見不到作者精煉的筆墨，而作者的目的達到了。這可謂“得魚忘筌”，技巧只是“筌”而已，觀衆得到生動形象才是魚。當然，接著，也將可見到這是由表現力的用筆了。

就如宋代韓拙説的：“筆者心運也，索之於未狀之前，得之於儀則之後。默契造化， 與道同機”。所謂儀則，就是掌握其骨法規律吧。也即是”搜形“，”度理“的過程，而歸結為用有節奏和規律的骨法去形成有生命力的筆法表現它的形和神。 — 符合于客觀存在的形質和規律。

This allows the viewer to grasp the mood and image the artist intended, without focusing on the refined brushstrokes. The artist’s goal is achieved, much like 'catching the fish and forgetting the trap'—the technique is the 'trap,' and the vivid image is the 'fish.' On closer inspection, the expressive brushwork becomes clear.

As Song dynasty artist Han Zhuo said, 'The brush is guided by the heart, capturing form after understanding its principles, aligning with nature and the Tao.' These 'principles' refer to mastering the Bone Method, using rhythmic, structured brushwork to express both the form and spirit of the subject, in harmony with its natural form.

用“骨法”去體現對象，用“筆法”去體現“骨法”，這一“儀則”的形成過程是“心運”；但是“筆”是需要“墨”來表達它和豐富它的，於是就提出了用墨的問題，和筆墨互相滲透的問題。

Using the 'Bone Method' to embody the subject and the 'brush technique' to embody the 'Bone Method,' the formation of these 'principles' involves the 'movement of the heart.' However, the 'brush' requires 'ink' to express and enrich it, which raises the issues of ink usage and the mutual permeation between brush and ink.

用筆既然在於立形質，而筆之表達又有賴于墨的賦給其神形。由於在顯示筆之表現力上的需要，於是必須有濃，淡，焦，濕，清等等墨法之使用，因而一筆之中，有時也有多種墨彩之表現，或各筆之間，各有其墨彩之不同需要的表現，形成“筆中有墨”。 更由於筆墨互相滲透，集多筆之混同為一片，一片之中又有多種墨彩之表現，而也匯合成了“墨”，成了“墨中有筆”的情況。

6) The Mutual Application and Permeation of Brush and Ink

Since the brush is used to establish form and substance, the expression of the brush relies on ink to give it spirit and form. Due to the need to demonstrate the expressive power of the brush, various ink techniques such as thick, light, burnt, wet, and clear are required. As a result, a single brushstroke can sometimes display multiple shades of ink, or each stroke may have different ink tones to express its distinct requirements, forming the concept of “brush within ink.” Moreover, through the mutual permeation of brush and ink, multiple strokes blend into one, and within a single stroke, multiple shades of ink are expressed, combining to create “ink,” thus leading to the situation of “ink within the brush.”

筆意既立形質，又有墨澤之表現，形成其華藻，乃為筆墨之互相作用。這是因爲墨既必須以筆作為它的依附，才有意義，而筆則必須藉著闡發其精神的緣故。互爲依賴，互爲作用。一整片之“墨”，必須有靈動之用筆作爲陰陽虛實之闡發， 才不會糊塗一片，不知所表達為何物。 每一筆中又有各自之墨澤，作爲其剛柔，遠近，燥濕等等之“骨相” “形相”的表達，才有生命。以至于彙積多筆以成積墨，濃淡或水互相滲破而成破墨，筆勢和墨澤混同運用而成潑墨。

The intention of the brushstroke establishes both form and substance, while the expression of ink enriches its texture, creating an interplay between brush and ink. This interaction arises because ink must rely on the brush as its medium of attachment to have meaning, while the brush, in turn, requires ink to manifest its spirit. They are mutually dependent and exert influence on each other.

A broad expanse of ink must be guided by dynamic brushwork to articulate the balance of yin and yang, solid and void, so that it does not become a muddled mass without clear expression. Within each brushstroke, the ink carries its own variations—conveying hardness and softness, distance and proximity, dryness and moisture—expressing the "bone structure" and "form" that give it life.

Through the accumulation of multiple strokes, the layering of ink (積墨) takes shape, with its gradations of density and fluid interactions producing the technique of "broken ink" (破墨). When brush force and ink texture are blended together, the result is the expressive technique of "splashed ink" (潑墨).

在整輻畫中，筆與墨就這樣互相滲透，互相爲用，以至“筆中有墨”，“墨中有筆”地難解難分了。形成了統一的筆酣莫暢的境界。

古人把筆墨歸納成八法，即所謂：皺，刷，點，拖，斡，渲，捽，擢等等八樣。

而實際上，在長期實踐中，有所發展，有所豐富，實不止此。

Within the entirety of a painting, brush and ink permeate each other, intertwining so seamlessly that "the brush contains ink, and the ink carries the brush"—an inseparable unity. This fusion gives rise to a state where the brush moves freely and the ink flows effortlessly, achieving a realm of profound harmony and expressive fluidity.

The ancients distilled brush and ink techniques into eight fundamental methods: wrinkling (皺), brushing (刷), dotting (點), dragging (拖), twisting (斡), washing (渲), rubbing (捽), and lifting (擢).

Yet, through long years of practice and refinement, these techniques have evolved, expanded, and deepened beyond mere classification. In the hands of an artist, they are no longer rigid formulas but living expressions, ever adapting and unfolding with each stroke.

在探討筆墨之間的關係，清笪重光有幾句話説得頗精闢，他説：“筆中用墨者巧，墨中用筆者能。墨以筆為筋骨，筆以墨為精英”。 説明筆墨之間的相互爲用。

由於筆墨互爲滲透等技法，作爲表達人們思想感情之“載入”的手段，已從古人說的筆以立形質，墨以分陰陽等基本概念，有了更深廣的發展，而應賦以時代的精神和作者的人格和風格等意義了。

In exploring the relationship between brush and ink, Qing dynasty painter Da Zhongguang (笪重光) offered an insightful observation:

"Skill lies in using ink within the brushwork, and mastery lies in using brushwork within the ink. Ink relies on the brush for its structure, while the brush relies on ink for its essence."

This elegantly illustrates the mutual dependence and interplay between brush and ink.

Through techniques of mutual penetration and integration, brush and ink serve as the vessel for expressing human thought and emotion. Over time, their role has evolved beyond the traditional notions—where the brush establishes form and structure, and ink differentiates light from shadow—to embrace a deeper, more expansive significance, reflecting the spirit of the era, as well as the artist’s character and personal style.

① “神”與“骨法“的密切關係

骨法既然藉用筆去表現，那麽用筆之是否準確？ 是否能完整地去表達其連接内的關係？ 是否能抓住對象的機要？以形成整體的藝術形象，是有關能不能攫到”神“的問題。”攫神“，是中國畫作者所極力想得到的境界，而”神“非”形“莫所寄托，”搜形“如不深入，也難以達到”形神兼備“的境界。

7） The purpose of "Bone Method of Brushstrokes" is to "capture the spirit".

1. The Close Relationship Between “Spirit” (神) and “Bone Method” (骨法)

Since Bone Method (骨法) is conveyed through brushwork, its accuracy becomes crucial—can the brush capture the precise connections within the form? Can it seize the essential essence of the subject? Can it construct a cohesive artistic image? These are all fundamental to whether an artist can truly grasp the spirit (攫神) of the painting.

To capture the spirit (攫神) is the ultimate pursuit of a Chinese painter. Yet, spirit (神) cannot exist without form (形) as its vessel. If the search for form (搜形) is not deeply explored, achieving a perfect balance between form and spirit (形神兼備) remains elusive. The brush must not only outline structure but also infuse vitality, allowing the artwork to transcend mere representation and reach a realm where spirit and form become one.

宋蘇東坡曾記載了一則很有趣的故事：

”吾曾見僧維真畫曾魯公，初不甚似，一日往見公，歸， 而喜甚。曰吾得之矣。乃于眉后加三紋，隱約可見，作俯首上視，眉揚而額蹙者。遂大似。（注：俯首或作仰首，額蹙或作頞蹙）

生動的描述了“骨法用筆“和”攫神“的關係，曾魯公眉后的隱約三紋，正是這個樂於提携后進的人物，其性格所表現出來的特徵的樞紐，維真和尚最初未能把他的隱秘勾出來，忽略了，骨法不完整，因此不甚似。等到他”搜形“搜到了，原來在眉后，只是隱約可見的三條紋而已。骨法的有機連接就完整了。三條紋把曾魯公的性格和神態的表現，扯動起來，把以前畫的骨綫全牽動了，活了。是機扭，成爲揚眉蹙額，活靈活現的有性格的肖像，於是不但大似，而且神也攫到了。 — 神似。

Su Dongpo’s Story on “Bone Method” and “Capturing the Spirit”

Su Dongpo recorded an interesting story:

"I once saw the monk Weizhen paint a portrait of Zeng Lugong, but it didn’t quite resemble him. One day, after visiting Zeng in person, Weizhen returned excitedly and said, ‘I’ve found it!’ He then added three faint lines behind the eyebrows, depicting Zeng looking upward with raised brows and a furrowed forehead. Suddenly, the likeness became striking."

This story illustrates the connection between "Bone Method of Brushstrokes" (骨法用筆) and "Capturing the Spirit" (攫神). The three subtle lines behind Zeng’s brow were key to his character—his generosity in mentoring others. Initially, Weizhen missed this detail, making the portrait incomplete.

Only after deeper observation (搜形) did he realize the importance of these faint lines. Adding them connected the structure, activating the entire face. The portrait became not just visually accurate but full of life, capturing both form and spirit—achieving true "spiritual resemblance" (神似).

再舉一例：

陳老蓮畫崔鶯之像（西廂記插圖半身像）近的半面眉目小，遠的半側面眉目及輪廓反而大，側身的肩膀一綫畫得似背膀。如果用一般常用的焦點透視和解剖觀點來衡量，幾乎都是錯的，然而他運用”骨法用筆“的本領實在太高明了，不拘之于機械地去運用透視和解剖，而服從于塑造人物的藝術形象，特別是”攫神“的需要，使人覺得畫的正是西廂記裏説的，張生初見鶯鶯的形象：“宜嗔宜喜春風面，偏、宜貼翠花鈿“的一霎那，不但把少女鶯鶯的轉身過程，使觀者恍惚見到她是從一面轉向另一面，害羞的樣子。有運動的感覺，達到”攫神“的目的，真是妙極了。

Another example：

Chen Laolian’s half-body portrait of Cui Yingying (from Romance of the Western Chamber) presents an unusual composition: the nearer side of her face appears smaller, while the farther side, including her eye and facial contour, is drawn larger. Her slightly turned shoulder is outlined as if it were part of her back.

From a strict perspective or anatomical viewpoint, these proportions seem incorrect. However, Chen’s mastery of Bone Method (骨法用筆) transcended mechanical perspective rules. He prioritized expressing the figure’s essence and spirit (攫神) over rigid accuracy.

Through this approach, he perfectly captured the fleeting moment described in the play: “A face like spring wind, charming whether in joy or anger, adorned with delicate floral ornaments.” The portrait conveys movement, making viewers feel as if they are witnessing Yingying shyly turning toward Zhang Sheng for the first time. The subtle sense of motion enhances the emotional depth, achieving a true grasp of spirit (攫神)—a stroke of artistic brilliance.

這説明神和骨法的關係，而神是要依賴于骨法的準確和靈活的表現。

即使山水畫，作者載情性于物性物情，也必須統一于物理物情之内，籍整體之骨法以爲形質，以爲有機之整體藝術形象，不然。就攫不到神，必陷于空洞無物，玩弄筆墨的浮誇氣習，如游魂走屍。可以説：”骨法用筆的目的在於“攫神”，在於“形神兼備”的要求，而最主要是在于“攫神”，在於“攫神”是中國畫的特色。

This demonstrates the close relationship between spirit (神) and Bone Method (骨法)—where spirit relies on the accuracy and flexibility of brushwork to be fully expressed.

Even in landscape painting, an artist must integrate personal emotions with the essence of nature. However, this must remain unified within the natural logic of form and sentiment. The Bone Method provides the structure, shaping an organic and cohesive artistic image. Without it, the painting fails to capture spirit (神) and risks becoming empty, superficial, and merely an indulgence in brushwork—like a wandering soul without substance.

Thus, it can be said: “The purpose of Bone Method is to capture spirit.” While achieving both form and spirit (形神兼備) is ideal, capturing spirit (攫神) remains the defining essence of Chinese painting.

② 從“攫神”到風格

人們在表現對象的過程中，由於物象本身既有其形質，又受外界之影響，發而為華，華與質相表裏互爲作用，而形成各種不同形象。有其内蘊，有其表象，有其情性，有動有靜， 每一個形象之間復互爲影響，互爲作用，形成複雜之關係及勢態，此種勢態，正是作者所想攫取的“神”。

更由於作者師承的不同，觀察對象的方法不同，藝術的志趣不同，各人的各方面修養不同，社會經歷不同，人生觀，世界觀的不同，品行的不同，等等等等，形成了各種各樣的形形色色繪畫風尚和面貌，這是必然的。假如説： 載我情我性于物情物性，是中國畫的一種特色，那麽，在攫神的過程中，就難免有作者的影子在畫中了。 因此，也就形成了有各種不同的風格的畫了。這也就是可能有個性的表現的畫了。（因為離不開了主觀的意念）中國畫家老早就有這樣的事了。

2. From “Capturing the Spirit” to Artistic Style

In the process of portraying a subject, its form and essence are shaped not only by its inherent nature but also by external influences. These external factors give rise to ornamentation (華), which interacts with substance (質), resulting in various distinct images. Each subject possesses both inner essence and outward appearance, emotion and temperament, movement and stillness. Furthermore, these elements influence and interact with each other, creating complex relationships and dynamics—it is precisely this “spirit” (神) that the artist seeks to capture.

Moreover, an artist’s lineage of learning, observational approach, artistic aspirations, personal cultivation, social experiences, worldview, and moral character all contribute to shaping their artistic expression. These differences inevitably lead to diverse painting styles and artistic identities.

If we say that Chinese painting is characterized by embedding personal emotions and temperament into the essence of the subject, then in the pursuit of capturing spirit (攫神), it is natural for traces of the artist’s presence to emerge in the work. Thus, varied artistic styles are born—each carrying a distinct personality. This is an inherent aspect of Chinese painting, where subjective intention is inseparable from artistic expression—a tradition deeply rooted in its history.

晉朝王廙曾和他的侄子王羲之論畫說：“畫乃吾自畫，書乃吾自書”。可見這一精神是中國的老傳統，是很可繼承的“獨立精神”遺產。

但是一切風格，除了深入生活去體察，要有獨立的精神，自其慧眼，善于去創見，和不斷地去磨練技巧之外，還要從多方面去進行學習，修養，包括科學，文學，史籍，書法及其他各種藝術的修養。

而其中最關作品的格調和特別重要的，則是作者本身的品格修養。

品格對於一個中國畫家，歷來是十分重視的。人品不高，就不能在作品上體現高尚的情操，以起潛移默化之功。既然“畫如其人”，那麽作者本身的品德修養是十分重要的。如何去發揚中國的優良傳統？沒有高尚的品格和靈魂，如何去提高自己作品的風格，將融化于中華民族的風格，而民族的風格，有賴於眾多的高尚的個人風格以滙成。

During the Jin Dynasty, Wang Yi (王廙) told his nephew Wang Xizhi (王羲之):

"A painting must come from myself, and calligraphy must come from myself."

This reflects the longstanding spirit of artistic independence in Chinese painting, a legacy worth inheriting.

However, artistic style is not just about deep observation, originality, and technical mastery. It also requires broad cultivation in science, literature, history, calligraphy, and other arts to refine one’s vision.

Most crucially, an artist’s character (品格) determines the essence and tone of their work. Chinese painting has always emphasized moral integrity—without noble character, one cannot express profound emotions or inspire others.

Since “a painting reflects its creator” (畫如其人), the artist’s self-cultivation is essential. Only through personal refinement can one elevate their style, contributing to a greater national artistic identity. A nation’s artistic character is formed by the noble expressions of its artists, woven together into a lasting cultural legacy.

因此强調地說：中國畫家對於自己的品德修養，是顯得十分重要的，是必須自我認真去看待的。而“骨法用筆”的方法和筆墨的探討，不應只是純技巧問題，不是玩弄筆墨趣味的技術問題，而是探討深入生活，發揚民族優良傳統，建設社會主義中國現代文化，提高精神文明的問題，探索具有中華民族表現特色的繪畫問題。這將因爲“骨法用筆”和”筆墨“的表現方法，是我國傳之已久的藝術手法和特色，而且是一種不斷發展，不斷深刻，不斷完善，不斷豐富，富於民族精神和表現力的藝術風格。值得我們引以自豪，也值得我們去進行探索，繼承和發揚光大。

一九八二年春于汕頭市

王奔騰

The Significance of Moral Cultivation in Chinese Painting

Therefore, it must be emphasized that a Chinese painter’s moral cultivation is of utmost importance and must be taken seriously. The study of Bone Method of Brushstrokes (骨法用筆) and brush-and-ink techniques should not be seen as mere technical exercises or an indulgence in brushplay. Instead, they should serve as a means to deepen one’s connection with life, uphold national artistic traditions, and contribute to the modern cultural development of China—enhancing spiritual civilization and refining a painting style that embodies the unique expressive characteristics of the Chinese people.

Since Bone Method and brush-and-ink techniques have been deeply rooted in our artistic heritage for centuries, they continue to evolve, becoming more refined and enriched over time. These methods are not just techniques but an artistic style full of national spirit and expressive depth—one that we should take pride in, explore further, inherit, and carry forward.

Spring 1982, Shantou City， Wong Bun Tang