中国画讲究用笔。五代时期荆浩便在《笔法记》中提出:“凡笔有四势,谓筋、肉、骨、气。笔绝而不断谓之筋,起伏成实谓之肉,生死刚正谓之骨,迹画不败谓之气。”又论曰:“迹断者无筋,苟媚者无骨。”我们可以通过荆浩对于笔墨的比喻,来体会“石为山之骨,泉又为石之骨”的概念。筋骨者必不能迹断、苟媚,这正是对画溪泉的要求。画泉或从山顶挂下,或向石面垂流,须有悬崖匹练、一泻千仞之势。而 Chinese painting stress pen. During the Five Dynasties, Jing Hao put forward in the “Writing Notes of Writing”: “Every pen has four potentials, that is, the tendons, the flesh, the bones and the gas. , The trace unbeaten said Qi. ”Also on the said: “ no trace of those who no muscle, Gou Mei no bone. ”We can Jing Hao for the analogy of the pen and ink, to understand , Spring is the bone of the stone "concept. Bones who will not be able to track off, Gou Mei, which is the request of painting Xi Stream. Painted or hanging down from the top of the mountain, or to the stone face down, there must be cliff-like practice, a diarrhea thousand 仞 potential. and