Part

 1 Taoism|        covered with the skin of colour. That he ignores the question
 2 Taoism|      the notion of composing in colour.~The sacredness of calligraphy,
 3 Buddhi|         as the golden or yellow colour of the skin described in
 4 Ashika| Kamakura period, now supersedes colour in importance.~A painting,
 5 Toyoto|      gorgeousness and wealth of colour than for its inner significance.
 6 Toyoto|         colouring. They handled colour more as mass than as line,
 7 Tokuga|       the glorious tradition of colour. The new Tosa School, however,
 8 Tokuga|     though it attained skill~in colour and drawing, lacks that
 9 Meiji |    faced.~That constant play of colour which distinguishes the
10 Meiji |   Indian culture - however much colour and strength they might
11 Meiji |         notwithstanding the new colour which the life of a modern
12 Meiji |      their message of light and colour, before Ruskin had interpreted
13 Meiji |   chiaro-oscuro ~as beauty, and colour as the embodiment of emotion,
14 Meiji |         this picture a power of colour like that of the Fujiwara
15 Meiji |        new Korin-like dreams in colour.~Lacquer is emancipated
16 Meiji |       revel in a wider range of colour and materials, and the sister-arts