This second part of the study of the bifa (笔法) concept in Jing Hao’s Bifaji examines its universal character and its transmission. Rooted in the cosmology of the Daode Jing and the Huainanzi, in which the myriad things proceed from the One, bifa makes painting a re-enactment of cosmic creation. Discussing François Jullien’s remark that Chinese painters perpetuate rather than reinvent their tradition, the author argues that such repetition reflects the practice of absorbing the ancients (shifa guren) before contributing anew. Bifa is traced from Jing Hao, whose treatise parallels Liu Xie’s Wenxin Diaolong, to Shitao’s concept of the single brushstroke (yihua) and to Huang Binhong, for whom brush and ink (bimo) became the painter’s language and the vessel of emotion. The article then contrasts this continuity with Christian thought, which, by placing redemption and the Creator outside the world, fosters individualism and makes the brush merely a tool of expression. It concludes that bifa, with its dual philosophical and technical nature, has been handed down enriched yet essentially unchanged, and will continue to be developed by future generations of painters.