“书画同源”这一命题是由唐代画论家张彦远在《历代名画记》中提出来的,是张彦远对之前书法与绘画关系认识的一种理论性的概括。他认为,最早的时候书画是合为一体的,他还举例说六书中的象形就含有绘画之意象。这种观点从中国文字的主要特点来看确实有着一定道理,但是存在着很大地局限性。究其实质“书画同源”最主要的价值还是在于书画二者笔法相通,意韵相通更重要的是境界相通。因此,“书画同源”这一理论无论是对中国绘画的理论还是实践都具有极其重要的指导意义。 “The same origin of painting and calligraphy ” is proposed by Zhang Yanyuan, a theorist in the Tang Dynasty, in the book of Famous Paintings of Various Dynasties and is a theoretical summary of Zhang Yanyuan’s understanding of the relationship between calligraphy and painting. In his opinion, the earliest time painting and calligraphy was integrated. He also said that the pictograms in the six books contain the imagery of painting. This view from the main features of Chinese text does have some truth, but there is a great limitation. The essence of “the same origin of calligraphy and painting” is still the most important value of calligraphy and painting are similarities between the two ways, meaning is more important is the same phase of realm. Therefore, “the same origin of painting and calligraphy” is of extremely important guiding significance to the theory and practice of Chinese painting.