◆夫用笔之用笔之法，先急回，后疾下；如鹰望鹏逝，信之自然，不得重改。送脚，若游鱼得水；舞笔，如景山兴云。或卷或舒、乍轻乍重，善深思之，理当自见矣。——秦代、李斯《用笔法》◆夫书肇于自然，自然既立，阴阳生矣，阴阳既生，形势出矣。藏头护尾，力在字中，下笔用力，肌肤之丽。
唐张彦远的《法书要录》中有一节《传授笔法人名》，这样记载:“蔡邕受于神人而传之崔瑷及女文姬，文姬传之钟繇，钟繇传之卫夫人，卫夫人传之王羲之，王羲之传之王献之，王献之传之外甥羊欣，羊欣传之王僧虔，王僧虔传之萧子云，萧子云传之僧智永，智永传之虞世南，世南传之，授于欧阳询，询传之陆柬之，柬之传之侄彦远，彦远传之张旭，旭传之李阳冰，阳冰传徐浩、颜真卿、鄔彤、韦玩、崔邈，凡二十有三人”。
Abstract: In the Ming Dynasty， Zou Dezhong’s Compilation of Painting Things and Pointing To Enlightenment is the first known traditional figure painting book containing “18 etc. of ancient and modern depictions”. These “Eighteen Strokes” are the summaries of the line drawing techniques of the characters from the Northern and Southern Dynasties to the Yuan Dynasty summarized and sorted out by Zou Dezhong， referred to as “Eighteen Strokes”. Later， after the continuous addition and interpretation of the Ming and Qing dynasties， the “Eighteen Strokes” type of painting spectrum evolved into a three-in-one style consisting of the description name， the description interpretation and the spectrum schema. This paper examines the rheological changes of the “Eighteen Strokes” of the Ming and Qing dynasties by using the historical document method， and tries to clearly establish a research framework for the inheritance and evolution of such paintings， aiming to reveal how the names of “Strokes”， the interpretation of the descriptions， and patterns have changed.
