Part

 1 Intro |         world of the joy and the beauty of labour. But it is very
 2 Range |        of the present day, where beauty clings sadly to religion
 3 Range |    Definition is limitation. The beauty of a cloud or a flower lies
 4 Confuc|        he dwells lovingly on its beauty, but also the stories of
 5 Confuc|        love, and labour, and the beauty of earth; the ballads of
 6 Confuc|         suggesting that the true beauty of a capital lies rather
 7 Taoism|  Ashikaga artists have added the beauty of dark and light-without
 8 Taoism|          other lines to form the beauty of an ideograph.~paragraph
 9 Taoism|       lines, possess an abstract beauty of their own.~As no works
10 Buddhi|        to an immense love of the beauty and significance of things,
11 Asuka |          with its innate love of beauty and concreteness, was not
12 Nara  |    themes, not only the abstract beauty of the Indian model, with
13 Nara  |     cannot fail to see the great beauty and boldness of conception
14 Ashika|      making form and formalistic beauty the foundation of artistic
15 Ashika|    so-called Classic period when beauty is sought as the union of
16 Ashika|           a burning fire within.~Beauty was the vital principle
17 Ashika| harmonious, like the formalistic beauty of the Hang bronzes or the
18 Ashika| workmanship, designed by Sesshu. Beauty,~said they, or the life
19 Ashika|       also the law which governs beauty. Virility and activity were
20 Meiji |       knowledge which confounded beauty with science, and culture
21 Meiji |          line, chiaro-oscuro ~as beauty, and colour as the embodiment
22 Meiji |   naturalesque, the search after beauty, the demonstration of the
23 Vista |        lose with it not only the beauty~ ./. of things, but the