唐张彦远说:“夫物象必在于形似,形似须全其骨气,骨气形似皆本于立意而归乎用笔。”他在此强调了用笔与立意造型的关系。用笔不仅仅是中国画造型的主要技巧和手段,还是中国绘画的根本之法。“笔力”也称“骨力”。书画家全身精力贯至笔端,下笔自然能产生力度,这就是“笔力”。由于构成画家的“意”的气质、涵养、情感、思绪不同,贯于笔端之气也会不同。以气使笔的“气”不同,也就造成了用笔“笔力”的多样性、复杂性和多变性。 Tang Yan-Yuan Tang said: “The image of the husband must be in the shape of the shape of the whole body should be the same spirit, the spirit of the air are shaped by the conception and the pen.” “He emphasized the use of pen and conception of the relationship. Pen is not only the main technique and means of Chinese painting, but also the basic method of Chinese painting. ”Tension “ also known as ”strength “. The painter’s body energies through to the end of the pen, pen naturally produce strength, this is ”pen force “. Due to the artist’s ”meaning “ temperament, conservation, emotion, different thoughts, through the pen end of the gas will be different. With the gas pen ”gas“ different, it also created a pen ”pen" of the diversity, complexity and variability.