charaveysonlyitsoyoflineandstructure.inthisabsolutelyfree

cultivationandappreciationofpureposition,

hasbeenexplored.theientpossible,andtheeseters,heoretically

such,asapartfrotent.apaintinghastonveya,butaten

inanythioftheeseartistid.

fundantalstrokesofing.ifthereisohis,hewill

hebranflohafehespringing

distinguishhielfbyaructure,therefore,incalligraphy,if

calligraphy,theesescholaristraioappreciate,asregardsline,qualitieslike

squarebutareposedfroheoddestelents,presentaninfinitevarietyof

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

sotiseveyinslouessularity.thustheartofcalligraphy

bodyoftheleopard,thessivepahetiger,theslegsofthedeer,the

certaintypes,suchastheyularityorofaforevertoppling

therefore,theairedevotiontopurefors

byderivingitsartistinature,espeals梩

position,standsiiontopaintingaspuretheticsstandsiionto

basesofesenotionsofbeauty.

providesasofaesthetiiationayhe

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fotten,andthelinesandforareappreselves.inthis

andforandithasdoneso

field,everyvarietyofrhythasbeeeduponaypeofstructure

realisethatthesee.”

...

stfruitfulofresultsoodandapplied.asstated,ese

itseetothatand

theresobehtypesarenoteasilyseeninotherfieldsofeseart.

structurethatyetkeepsitsbalance,heeersbytheirfinesse,all

aesthetiisticipleaybe

asthisarthasahistoryofhousandyears,andaseveryertriedto

strusustsolveforhielf.thus,through

fpaintii

isofsignificetotheisthefactthat,notonlyhasitprovidedthe

sihofthehorse,

ssiveness,ruggedness,araintorfreedoandasregardsforheistaught

engineeringorastrono.inappreciatingesecalligraphy,theaniirely

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