书法与绘画是中国古代文化艺术的精粹,书、画虽分属两个类别,却因其内部千丝万缕的联系,而常常作为一体出现,二者相伴而生,无论其笔法、笔意,还是集书画成就于一身的历代书画家,都证明了书画同源、与时共进、共同完善这样两位一体的必然关系。早在唐代,张彦远就提出“书画同体”理论;到了宋代,文人画兴起,以书法之笔法、笔意入画的尚意风气开始形成,书、画创作得到进一步的融合和发展。元代,赵孟頫则提出“以 Calligraphy and painting are the quintessence of Chinese ancient culture and art. Although books and paintings fall into two categories, they often come together as a result of their inextricable connections. No matter how they are written, their meaning, Or a collection of calligraphy and painting success in all ages of calligraphers, have proved the same origin of calligraphy and painting, and with the time, and work together to improve such a necessary relationship between the two. As early as the Tang Dynasty, Zhang Yanyuan proposed the theory of ”painting and calligraphy in the same body.“ In the Song Dynasty, the rise of literati painting started to take shape with the brushwork of calligraphy and painting, and the further integration and development of book and painting was achieved. Yuan Dynasty, Zhao Meng-te is proposed ”to