文學與書法均為古代文人生活的重心，書法著重筆法，歷來有諸多相關的討論，不僅指用筆的概念及運筆時的筆鋒、筆勢，結構篇章的布局乃至於整體的風格氣勢亦為討論重點，文人在文學評論中亦時借用這些筆法觀念協助品評。而詞做為唐宋後乃興起的文體，句式長短不一，內容含蓄婉轉，結構、內涵上漸趨變化繁複，其中的筆法經營安排，有許多可與書法相對應的概念，由用字下詞、構句成章乃至於風格氣韻。因此，諸多論詞的詞話、詞論常以書法中的筆法用語來品評詞作的筆法，然而這樣的言詞往往較抽象簡略，如所謂順筆、逆筆、縮筆、留筆、澀筆、直筆、曲筆等，甚至由運筆氣勢論及所謂提肘運筆、空際著筆等。固然能顯其高妙之處，但也易造成後人理解上的困難。因此，本文分析書論與詞論中皆常出現的筆法，藉由對書法用筆的了解，釐清過去論詞筆法時未能有較清楚解釋的概念。

Literature and calligraphy have long been the core of ancient literati. There have been a variety of discussions and comments in literature theory regarding writing styles of calligraphy. Ci, a type of literature with abundant varieties considering its sentence structures and contents, has much in common with calligraphy. As a result, legions of terms of calligraphy are applied to discuss Ci. However, this approach makes Ci perceived briefer and more abstract, leading to poor comprehension. In light of this, the article will profoundly analyze some commonly seen writing styles of calligraphy and Ci; in other words, via the deeper analysis of writing styles of calligraphy and Ci, more unclear concepts of Ci in the past will be exposed lucid.