basesofesenotionsofbeauty.

sotiseveyinslouessularity.thustheartofcalligraphy

stfruitfulofresultsoodandapplied.asstated,ese

sihofthehorse,

fotten,andthelinesandforareappreselves.inthis

certaintypes,suchastheyularityorofaforevertoppling

hebranflohafehespringing

such,asapartfrotent.apaintinghastonveya,butaten

theresobehtypesarenoteasilyseeninotherfieldsofeseart.

bodyoftheleopard,thessivepahetiger,theslegsofthedeer,the

itseetothatand

isofsignificetotheisthefactthat,notonlyhasitprovidedthe

toappreciateharny,proportion,ntrast,balance,lengthiness,paess,and

providesasofaesthetiiationayhe

engineeringorastrono.inappreciatingesecalligraphy,theaniirely

field,everyvarietyofrhythasbeeeduponaypeofstructure

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charaveysonlyitsoyoflineandstructure.inthisabsolutelyfree

calligraphy,theesescholaristraioappreciate,asregardsline,qualitieslike

aesthetiisticipleaybe

strusustsolveforhielf.thus,through

squarebutareposedfroheoddestelents,presentaninfinitevarietyof

force,suppleness,reservedstrength,exquisitetendeess,sness,ness,

hasbeenexplored.theientpossible,andtheeseters,heoretically

byderivingitsartistinature,espeals梩

cultivationandappreciationofpureposition,

inanythioftheeseartistid.

ssiveness,ruggedness,araintorfreedoandasregardsforheistaught

andforandithasdoneso

structurethatyetkeepsitsbalance,heeersbytheirfinesse,all

fundantalstrokesofing.ifthereisohis,hewill

asthisarthasahistoryofhousandyears,andaseveryertriedto

distinguishhielfbyaructure,therefore,incalligraphy,if

fpaintii

realisethatthesee.”

therefore,theairedevotiontopurefors

position,standsiiontopaintingaspuretheticsstandsiionto