From this point of view, you may devise the violin <=> saxophone analogy : the bow <=> air column excites the string <=> reed, the vibration of which is then amplified by the violin body <=> sax tube.
(…) the violin player should feel the violin and the bow as an extension of his own body : they both appear as outgrown from him to the point where you expand your body scheme up to the instrument boundaries.
The violin and the bow then behave as revealers of your body sound and not as instruments creating music from scratch.
Virtuosity is enhanced by the absolute invariance of the violin against the body, of the bow extending the arm.
Your efforts are motivated by your expected improvement, which does not come as a systematic reward after each practice session. It requires some period of time to mature and may come out when unexpected.
Dominique Hoppenot , Le violon intérieur
(translated by Guy Robert)