some remarks on quality   p.3

By training brush writing alone one could develop a feeling how a certain brush stroke was created, see the movement of the brush during the moment of the creation. The movement of the creation process is frozen in the marks the brush had made by applying the ink on to the paper or silk. The value of the calligraphy is this movement itself not the result.
The written character in the art of calligraphy is the vehicle which allows the connoisseur to relive the moment of creation.

The writing is the masterpiece, not the written!

So if the movement failes there is no meaning in cheating, in overwriting. One would have to start over the whole sheet with abetter prepared mind.
The bigger the characters the more creative genius is needed to keep the balance. The smaller the characters the more essential it becomes to train the creating movement of the brush again and again to keep the fluency and movement in the smaller strokes.

All this is valid as well in painting too. But now of course the strokes to create the structures to form the painting. Each brush stroke in a painting forms a calligraphic unit and provides quality for the representaion of the painted subject.
The special calligraphic character of each individual brush stroke creates then movement. So if there is hesitation in the strokes there will be hesitation in the painting. The size of the strokes or whether they are done in ink or colour does not matter here.
Power which had moved the brush then could transform in the painting into power that shows actual movement, power that shows potential movement of resting objects, or even gone power that led to the form now depicted.

Best to start with a few examples now how brush strokes are related to quality.