“书画同源”是中国传统理论的重要观点,唐代张彦远《历代名画记·叙画之源流》中说,“颉有四目,仰观垂象。因俪鸟龟之迹,遂定书字之形,造化不能藏其秘,故天雨粟;灵怪不能遁其形,故鬼夜哭。是时也,书画同体而未分,象制肇始而犹略。无以传其意,故有书;无以见其形,故有画。”本文将从“笔法”的角度来分析“书画同源”的概念 “Calligraphy and painting homology ” is an important view of traditional Chinese theory, the Tang Dynasty Zhang Yanyuan, “the birth of famous paintings in the history of the origins of” said, “Jie with four heads, Then set the shape of the book words, good luck can not hide their secrets, it is the rain millet; the spirit strange can not escape its shape, so ghost night crying .It is also time, painting and body without distinction, Therefore, there is a book, so no painting can be seen. ”This article will analyze the concept of“ homology of paintings and calligraphies ”from the perspective of“ brushwork ”