Computer vision analysis of 之 knotting patterns in the Chinese calligraphy work The Orchid Pavilion

Computer vision analysis of 之 knotting patterns in the Chinese calligraphy work The Orchid Pavilion | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article Computer vision analysis of 之 knotting patterns in the Chinese calligraphy work The Orchid Pavilion Li Li, Zhao Chuan This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-6877942/v1 This work is licensed under a CC BY 4.0 License Status: Published Journal Publication published 17 Jan, 2026 Read the published version in npj Heritage Science → Version 1 posted 7 You are reading this latest preprint version Abstract This study examines the character "之" in the Preface of Shenlongben. We use a clear data image from The Orchid Pavilion to quantify its features through computer vision techniques such as Fraclab box counting, edge detection, and K-means cluster analysis. This study looks at the character "之" in The Orchid Pavilion using correlation analysis and other methods. It investigates the variations in the different forms of the same character, the proportional scale of its structure, the equilibrium of positive and negative space, and the interplay between the virtual and real dimensions. Additionally, it analyzes the configuration of the character and its spatial representation to seek a rational understanding of traditional calligraphy. The goal is to suggest a useful way to measure the rules of Chinese calligraphy. This exercise will create a new way of passing down, improving, and growing the art of calligraphy. Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Introduction The rule of character formation serves as the fundamental legal and aesthetic basis of calligraphy, emphasizing both the artistic merit and cultural significance of the calligraphic style while also establishing the distinctive artistic language system of Chinese calligraphy. Historically, since Cai Yong from the Eastern Han Dynasty suggested that "writing comes from nature, and yin and yang come from it," later calligraphers like Mrs. Wei and Wang Xizhi have explored the rules of how characters are formed, creating a theory based on the balance of yin and yang. This system focuses on the organic unity of contrasting elements such as length, size, sparseness, interjection, black and white, and the reality of dynamic balance in transcending mechanical truth. Its essence serves as an artistic critique of the philosophical concepts of Taoism's yin and yang and Confucianism's neutrality and beauty. The law of junction helps guide the brush's movement through various twists and turns, looks at how space is limited in the central area, and uses the idea of white-as-black to turn simple lines into lively artistic images, showing the desire to master nature. The evolution of calligraphic styles reveals a progression from the equilibrium of Seal Script to the fluidity of Clerical Script, culminating in the precision of Regular Script. The final calligraphic style grew and changed significantly due to the knotting law, especially seen in the horizontal layout of Clerical Script during the Han Dynasty, marking an important moment in its history. The law of knotting is important because it helps create official writing and allows Chinese official script to develop into a unique art form, which has significant cultural importance as well. Among the various disciplines of Chinese artistic creation, calligraphy is the most prevalent, and the new media environment has enhanced this aspect of the art, leading to the practice of calligraphy, traditionally limited to literati and scholars, acquiring a social dimension in contemporary times. The emergence of this phenomenon has fostered a flourishing environment for contemporary calligraphy; however, the negative consequence of its popularization is the gradual divergence from fundamental aesthetic standards, resulting in a chaotic practice of the art. Among these, the alternative ugly book stands out as the most contentious subject, in contrast to the conventional popular calligraphy style. The support for modern calligraphy is found in a distorted text, where those who have taken the "ink and brush of the times" create a theory for this unattractive book with a fitting name. The fundamental issue identified in the creative process regarding the style of calligraphy is the disparity between conventional calligraphy theory and contemporary cognitive frameworks. The exploration of calligraphy theories across generations, encompassing rhyme, brushwork, and various arguments, remains restricted to the traditional literati framework of literary analysis. Various misunderstandings and mistakes have arisen from modern cognitive language practices, and while they align with current theories, their full proof remains elusive. Today’s calligraphy research uses scientific methods to prove traditional knotting theory by analyzing data, showing that proportional relationships, like the golden section, are common in calligraphic knotting by measuring things like the center of gravity and how much space the structure takes up. However, there remains potential for further systematic investigation of the knotting system by the academic community, which will be a significant focus in the future development of the discipline of calligraphy. Wang Xizhi's Lanting Preface is recognized as the apex of calligraphy. While the original has been interred within the tomb, the Shenlong version is acknowledged as the most faithful copy, having retained the original's allure to the greatest degree. The academic community widely concurred that it not only fully preserved the traits of the original penmanship but also that the line chapter accurately replicated the draft's original appearance when it was closest to the authentic copy 1 . Consequently, this paper focuses on the most representative character of calligraphy, "之," from Shenlong Ben's The Orchid Pavilion, and analyzes and summarizes it by integrating various pixel parameters of the image through the application of computer vision technology. This paper focuses on the character "之" in The Orchid Pavilion as the subject of study and employs computer vision technology to analyze and summarize the principles of calligraphic creation by integrating various pixel parameters of the image, thereby seeking to explore new avenues for theoretical research in calligraphy with objective data and to broaden the theoretical dimensions and evaluative criteria of contemporary calligraphic practice. The existing study on the principles of calligraphic stylization primarily delineates four distinct avenues of inquiry. The initial category of research concentrates on the methodical analysis and elucidation of the stylization hypotheses from historical dynasties. Representatives such as Wang Songyu, in "Study of Calligraphic Styles" (1990), innovatively categorized Regular Script styles into two dimensions: "correct" and "change." The term "correct" refers to the fundamental principles of harmony, proportionality, and uprightness within conventional norms. The "positive" aspects focus on the traditional ideas of harmony, proportionality, and accuracy, while the "variable" looks at the different styles of Regular Script by exploring how dots and strokes interact, the direction they go, the use of space, and the balance between being crowded and open 2 . The second type of inquiry mostly originates from the viewpoint of creative practice and undertakes methodological investigations on the arrangement of regular script. The most significant of these studies is the "Golden Rule" theory proposed by Mr. Qigong, who discovered that the stylistic pattern of Chinese characters is typically defined by a tight upper section and a loose lower section, a tight front and a loose back, as well as a tight interior and a loose exterior. He also noted that the visual center often deviates from the center of the traditional mizigraph or jiuguangge and that the structural ratio resembles the golden section ratio of 5:8, which aligns with the overall framework's golden section ratio. 0.382:0.618 inside the comprehensive structure 1 . The third category of inquiry seeks to employ Western formal space theory to analyze calligraphic forms across cultures. In his article “Structure and Space” in Form and Interpretation of Calligraphy (1993), Qiu Zhenzhong offers a new idea that calligraphic lines create a unique block of space by dividing a flat area, and this unevenness in visual tension creates a sense of movement within the structure. He indicated that the trajectory of the lines is dictated by their structure, and the flow of the lines renders the calligraphic space a visually cohesive system characterized by both dynamism and integrity 3 . The fourth area of research looks at combining calligraphy with the study of how people perceive beauty, aiming to create a new way to understand both fields together. The book Calligraphy: Form and Aesthetics (2000) 4 uses Arnheim's theory of visual perception to look at old ideas about stylization, showing that calligraphic stylization includes basic features like "dynamic balance," "visual center," and "inner tension." In Form-Force-Emotion (2019), Li Po-tan advances this research trajectory by integrating Arnheim's visual perception theory with traditional Chinese calligraphy principles. He suggests that the idea of "force" in architecture is key to connecting the shape of calligraphy with how it makes people feel, claiming that this balance of force allows the calligraphic shape to trigger emotions in viewers. This dynamic equilibrium of force enables the calligraphic shape to elicit an emotional response from the spectator 5 . Furthermore, with the swift advancement of digital technology, scholars commenced the active utilization of computer technology to perform comprehensive research on the art of calligraphy. In the article "WuMKG: a Chinese painting and calligraphy multimodal knowledge graph," Jingwan et al. proposed a seal extraction and theme extraction method for Chinese paintings and calligraphy using image processing techniques 6 . Zhaogang Wang and his team created a dataset to identify different kinds of ancient scripts and suggested using hierarchical generalized networks to effectively recognize these scripts by extracting and combining features in stages 7 . Yu Jinhui et al. suggested a system for creating realistic cursive writing that can mimic the usual shapes of strokes, differences in brush texture, ink amount, and stroke moisture by adjusting several settings 8 . Pengfei Xu et al. proposed a shear bootstrap filter for automatic extraction of form and spirit information in calligraphy images 9 . An unsupervised calligraphic font generation network, SPFont, based on the Generative Adversarial Network (GAN) framework, was proposed by Fangmei Chen et al. The generator better preserves the fine features of fonts, such as stroke thickness and curve shape, and can generate higher quality Chinese calligraphy 10 . Even though there have been significant improvements in studying how calligraphy connects, especially by using ideas from Western psychology and visual perception, there is still a big lack of using computer vision, artificial intelligence, and other new technologies to analyze calligraphic connections in a measurable way. This research gap not only hinders the accurate delineation and validation of calligraphic artistic principles but also constrains the profound integration of calligraphic art with contemporary technology. Future research needs to improve the use of different methods from various fields while keeping the depth of traditional ideas, especially by using digital analysis technology, to help study calligraphic connections in a more accurate and organized way. Methods For the purpose of this study, high-definition photographs of the Shenlongben Lantingji Preface were utilized to pick twenty instances of the character "之" as topics for empirical investigation. Extracting the square image region of each "之" and detecting its edges by computer vision techniques. Subsequently, the fractal dimension, aspect ratio, and pixel black/white ratio are computed. During the period during which the data is being processed, each character is initially examined. A preliminary descriptive statistical analysis of each parameter is carried out, which includes the computation of the coefficient of variation, the mean, the variance, and the extreme values. After that, a more comprehensive data mining technique is carried out with the assistance of DMSAS software. This approach incorporates correlation analysis and K-means clustering analysis to elucidate the inherent correlations and classification features that are associated with the character "之." In order to create a visual representation of the data, the data visualization method is applied. Using data visualization technologies, the findings of the study are presented in order to statistically explore the structural principles of the character "之" in Wang Xizhi’s calligraphy. This allows for a fresh approach to be developed in order to rationally evaluate the formal aspects of calligraphic art. Edge detection This study used edge detection algorithms to extract boundary structural information of landscape elements in "之" images 11 . Edge detection is widely used in computer vision and image processing, and common algorithms include Roberts algorithm, Sobel algorithm, Prewitt algorithm, LOG algorithm, and Canny algorithm.The Roberts operator, while simple, can miss edges, lacks noise suppression, and is not precise in edge localization. The Prewitt operator, though straightforward, offers some noise resistance but may result in a coarse edge representation, neglecting the impact of the proximity of neighboring pixels to the current pixel. The Laplacian operator excels at detecting subtle edges but is susceptible to noise, potentially leading to a significant noise response and the loss of directional edge information. The Canny operator is adept at producing fine edges and effectively suppresses noise, yet its complexity and computational demands are considerable 12 . Sobel extracts edges based on the law of variation that the first-order directional derivative takes its maximum value at the edge 13 .The Sobel operator, on the other hand, balances these considerations, offering superior performance on noisy images and accurate edge localization 14 . Although it may not match the Canny operator in detection precision, its simplicity makes it ideal for real-time applications. Consequently, after a thorough evaluation, we opt for the Sobel operator to conduct edge detection 15 . Fractal dimension Fractal geometry examines the uneven, self-similar structures inside mathematics. Initially proposed in 1975 by the American-French mathematician Benoit Mandelbrot (B. B. Mandelbrot) 16 , its initial definition refers to an "irregular, fractional, fragmented" object. Mandelbrot introduced the term to describe natural objects exhibiting intricate, irregular features that defy explanation through standard Euclidean geometry 17 . In fractal geometry, prevalent methods for quantifying dimension encompass the Hausdorff dimension derived from measure theory, the box-counting dimension based on mesh coverage, and the similarity dimension relevant to self-similar structures, with the box-counting dimension providing practical estimations through meshing techniques 18 . This research uses the box-count dimension to examine the complexity of "之". In box counting dimension, the image is partitioned into numerous uniformly sized boxes, and subsequently, the coverage areas of the images within these boxes are computed. The quantity of boxes N(ε) is augmented by progressively reducing the side lengths of the boxes and enhancing their coverage. A double logarithmic plot of N(ε) against ε is generated, and the curve is fitted using the least squares method; the slope of this curve represents the box-count dimension 19 . The precise formula is as follows. where O is the object to be fractalized, D(O) is the size of the fractal dimension of the object, ε denotes the width of the box covering the fractal set, and N(ε) denotes the number of non-empty boxes needed to cover the set 20 . The dimensionality formula indicates that the dimensionality of a tested item can be determined by enveloping it with small squares (boxes) of side length ε. The dimensions of a box can be determined by the box count method. A greater box count dimension generally signifies a more irregular fractal structure of the object, along with an increase in its visual complexity. The procedure for calculating the fractal dimension is as follows: first, extract square images centered on all the "之" characters in the Lanting Preface, binarize these images to create black-and-white binary representations, and subsequently apply an edge detection algorithm to extract edge structural information for the subsequent "之" characters in the images, thereby providing a rational foundation for calligraphy research. The edge detection technique can extract the edge structure information of the character "之" in the image, providing the foundational wireframe file for the following calculation of the edge fractal dimension. The fractal dimensions of the overall "之" character and the "之" picture post-edge extraction are computed using the counting box dimension, with the findings quantitatively expressed to facilitate the analysis of the visual complexity of the "之" character. The visual complexity of the character "之" is illustrated in the algorithmic procedure below. K-means clustering analysis The DBSCAN is a clustering algorithm based on density, while the k-means is based on distance 21 . Compared to others, the k-means is simple and efficient, which can be applied to analyze the situation with large dataset 22 .Therefore, K-means was selected as the method of cluster analysis in this study. K-means is an unsupervised machine learning approach for cluster analysis, invented by James MacQueen in 1967 23 , that seeks to categorize sample data into distinct groups based on the similarity of sample attributes within a known dataset. The clustering process initiates with the random selection of K objects as initial centroids, subsequently calculating the distances of all objects from each centroid and assigning each object to the cluster corresponding to the nearest centroid. The centers and their designated items form the preliminary clusters. Upon completion of the assignment, the system recalibrates the locations of the cluster centers based on the items within the current cluster. The process continues iteratively until the termination criterion is met 24 . The termination condition encompasses any of the following: (1) No items are reallocated to separate clusters, or the number of such reassignments is minimal. (2) No cluster centers are altered, or only a minimal number are modified. (3) The total of squared errors is minimized locally. Clustering results can be assessed using contour coefficients 25 and DB 26 index evaluation: the profile coefficient ranges from -1 to 1, with values approaching 1 indicating a more favorable clustering impact. Currently, the sample points exhibit a high degree of similarity with other points within the same cluster while simultaneously displaying significant differences from other clusters. When the coefficient approaches 0, it signifies that the sample points are situated at the boundary between clusters, indicating the clustering. A coefficient of 0 indicates that the sample points are situated at the boundary between clusters, resulting in a mediocre clustering impact; a negative value suggests potential misclassification of the sample points. The DB index serves as an inverse measure of clustering quality, with a smaller value indicating superior clustering performance. When the DB index is below 1, it signifies that the samples within the cluster are tightly grouped and the separation between clusters is substantial, indicating an excellent clustering effect; an index value between 1 and 2 denotes a moderate clustering effect; if the value surpasses 2, it suggests potential overlap between clusters, indicating a poor clustering effect. These two indices evaluate clustering quality from distinct viewpoints: The profile coefficient emphasizes the rationality of attributing individual sample points, whereas the DB index concentrates on the overall equilibrium between intra-cluster cohesion and inter-cluster divergence. The reliability of cluster analysis in actual applications can be thoroughly evaluated by integrating the assessment findings of both indicators. Results Adjust the dimensions and variances of homographs in calligraphic typefaces The development of the art of Chinese calligraphy, always through the creative exploration of the language of ink and brush, its stylized form presents an infinite variety of forms of evolution. The "Jin Shu-Wang Xizhi biography" states, "Commentators describe its brushwork as ethereal, akin to drifting clouds, resembling dragons." Wang Xizhi's calligraphy signified a significant transition in the aesthetic framework of Chinese calligraphy from "ancient quality" to "modern elegance." According to Song Cao's "About Calligraphy," his works are "vigorous in penmanship, heterogeneous in character, and distinctive in line," exemplifying the law in both natural and celestial forms. Wang Xizhi, embodying the elevated and haughty Wei Jin aesthetic, revolutionized the rudimentary calligraphy of the Han and Wei Dynasties into a novel style characterized by its natural fluidity, elegance, and accessibility, therefore ushering Chinese calligraphy into a new epoch of cultural self-awareness. This transition holds substantial art historical significance. The Lanting Preface, a calligraphic masterpiece by Wang Xizhi, was composed at the age of fifty in the Lanting Pavilion, Shanyin, Huiji, on the first day of the sixth month in the ninth year of the Eastern Jin Dynasty (353 AD). Historical records suggest that while slightly inebriated, Wang Xizhi revitalized his brush and produced the Lanting Preface, which has persisted through the ages, exemplifying his masterful brushwork that expressed his profound emotions through ink and brush. This artwork exemplifies the quintessential traits of Wang Xizhi's later calligraphic style: an apparent inability to restrain a profound adherence to form, with strokes that are spontaneous, fluid, and rich in variation. The calligraphic approach integrates brushwork from seal writing, official script, zhang cao, and various other forms, characterized by the rhythmic elevation and descent of the central strokes, with lines that disperse freely akin to flowing water and drifting clouds. The work illustrates Wang Xizhi's exceptional skill in character formation, employing varied treatments of identical characters through both regular and cursive scripts, while embedding a perilous and urgent energy within the fluid structure. As Dong Qichang noted in his Essays on Painting Zen Rooms, "Righteousness." The Lanting Preface, comprising chapters that are unprecedented in both ancient and modern contexts, is an artistic composition wherein each character emerges from a contemplation of the collective, regardless of size, and all are inherently aligned with the law, rendering them sacred works. Within a sheet of paper, the words vary, and the lines differ. The composition of the 20 "之" characters is frequently lauded; while utilizing identical strokes, there exist both straight and curved variations. Although they share a common side, the penmanship exhibits distinctions in width and narrowness. 27 The fractal dimension, as a statistical measure in fractal geometry, quantifies the complexity and irregularity of a fractal object or pattern. Fractal dimension, as a statistical term in fractal geometry, quantifies the complexity and irregularity of a fractal object or pattern. Calculating the fractal dimension of 20 instances of the character "之" allows for a scientific examination of character development, hence offering a rational foundation for calligraphy research. The following data were produced based on the various features of the 20 "之" characters (Table 1). Table 1 Aspect ratio and fractal dimension statistics of the character "之" " 之 "position Height Width Proportion Overall Fractal Dimension Edge Fractal Dimension 1 不能喻之于怀 92. 91 55. 96 1. 66 1. 7687 1. 1455 2 感慨系之矣 111. 88 68. 41 1. 64 1. 7513 1. 1318 3 视听之娱 78. 64 50. 25 1. 57 1. 7299 1. 1062 4 丝竹管弦之盛 114. 25 87. 41 1. 31 1. 5796 1. 1480 5 犹不能不以之兴怀 86. 06 66. 72 1. 29 1. 6156 1. 2395 6 不知老之将至 99. 03 78. 68 1. 26 1. 6710 1. 1231 7 及其所之既惓 94. 64 78. 81 1. 2 1. 7190 1. 1211 8 亦由今之视昔 83. 17 76. 94 1. 08 1. 6544 1. 0886 9 夫人之相娱 72. 76 68. 56 1. 06 1. 6232 1. 1092 10 每揽昔人兴感之由 83. 28 81. 51 1. 02 1. 6710 1. 0682 11 放浪形骸之外 61. 42 62. 42 0. 98 1. 6713 1. 1303 12 俯察品类之盛 66. 9 69. 33 0. 97 1. 7022 1. 1295 13 悟言一室之内 58. 99 60. 67 0. 97 1. 8359 1. 1058 14 后之览者 82. 57 84. 82 0. 97 1. 6791 1. 1001 15 俯仰之间 97. 64 111. 11 0. 88 1. 6542 1. 0971 16 仰观宇宙之大 91. 85 108. 48 0. 85 1. 6578 1. 0818 17 后之视今 75. 52 100. 68 0. 75 1. 7063 1. 0360 18 向之所欣 96. 09 140. 15 0. 69 1. 6589 1. 1428 19 会稽山阴之兰亭 69. 14 102. 13 0. 68 1. 7112 1. 0747 20 暮春之初 62. 68 105. 59 0. 59 1. 6970 1. 1167 According to the quantitative analysis of the aspect ratio of the character "之", its morphological characteristics can be summarized into two typical types: one type exhibits a flat square structure with an aspect ratio typically below 1, characterized by prominent horizontal strokes, robust horizontal folds, and a down stroke that is crisp and incisive, yet leaves a lingering impression. The alternative character form is defined by a longitudinal structure and diverse shape, reflecting the writer's adept management of technique and suggesting an uninhibited approach to life. Research data indicate that the perceived elegance and aesthetic appeal of calligraphy are fundamentally rooted in a meticulous understanding of character proportionality, with varying width-to-height ratios (0.59-1.66) directly influencing the visual attributes of the characters, while the rhythmic contrasts of the strokes impart a distinctive sense of rhythm to the works. This quantitative analysis elucidates the stylistic principle that "shape is derived from character, and posture is determined by context" in classical calligraphy theory, thereby affirming the mathematical foundation of calligraphic formal aesthetics. Assessment of Calligraphy's Black and White Balance and Ink Intensity Calligraphy is distilled into black lines on white paper, with its monochromatic palette encapsulating the variations of lines and sections, alluding to the pinnacle of Chinese philosophy: "All things return to one; one is the way." 29 Chinese calligraphy has evolved from the rudimentary single-line carvings of oracle bone and gold inscriptions to a diverse array of styles, including seal scripts, official scripts, regular scripts, running scripts, and cursive scripts. The seal script of the Qin and Han dynasties is distinguished by its proportionality and gravitas, whereas the regular script of the Tang Dynasty is characterized by its adherence to strict regulations. Calligraphers from previous dynasties have produced diverse artistic expressions through the intensity of ink and brushwork, as well as the minimalism of structure. The emergence of the digital era has facilitated advancements in computer vision technology, creating new avenues for calligraphy research. High-precision image acquisition has not only achieved the digital preservation of calligraphy but also revitalized the traditional art of ink and brush in virtual environments, offering scientific and technological support for the preservation and innovation of calligraphy. In "The Lanting Preface," the black and white pixel values of the upper left, upper right, lower left, and lower right groupings of the 20 "之" characters are acquired through image processing technology, followed by calculations to determine the upper, lower, left, right, and overall black and white ratios, as well as the mean and standard deviation of additional fundamental indices (Table 2-Table 4). Table 2 Grouping of the word "之" and the overall black and white ratio " 之 "position Grouping Total Black White Ratio 暮春之初 top left 62146 14088 48058 0. 29 Upper right 62918 14256 48662 0. 29 Bottom left 62146 26382 35764 0. 74 Bottom right 62400 25137 37263 0. 67 会稽山阴之兰亭 top left 105732 35175 70557 0. 50 Upper right 105198 20431 84767 0. 24 Bottom left 105465 32966 72499 0. 45 Bottom right 105732 27769 77963 0. 36 丝竹管弦之盛 top left 30049 6336 23713 0. 27 Upper right 29850 6295 23555 0. 27 Bottom left 29596 9011 20585 0. 44 Bottom right 29445 8866 20579 0. 43 仰观宇宙之大 top left 89976 16271 73705 0. 22 Upper right 90804 20730 70074 0. 30 Bottom left 89748 23177 66571 0. 35 Bottom right 91133 26824 64309 0. 42 俯察品类之盛 top left 34580 4034 30546 0. 13 Upper right 34034 6888 27146 0. 25 Bottom left 34587 12671 21916 0. 58 Bottom right 34404 12401 22003 0. 56 视听之娱 top left 24257 6264 17933 0. 35 Upper right 24066 7941 16125 0. 49 Bottom left 25956 7877 18079 0. 44 Bottom right 26035 7173 18862 0. 38 夫人之相娱 top left 68057 22387 45670 0. 49 Upper right 68834 18967 49867 0. 38 Bottom left 68834 22500 46334 0. 49 Bottom right 68326 23428 44898 0. 52 悟言一室之内 top left 42427 13234 29193 0. 45 Upper right 42224 16935 25289 0. 67 Bottom left 42432 14827 27605 0. 54 Bottom right 42224 14797 27427 0. 54 放浪形骸之外 top left 37632 8563 29069 0. 29 Upper right 38021 10159 27862 0. 36 Bottom left 37635 8473 29162 0. 29 Bottom right 38021 10827 27194 0. 40 不知老之将至 top left 56560 16305 40255 0. 41 Upper right 56840 14696 42144 0. 35 Bottom left 47096 8460 38636 0. 22 Bottom right 47096 19782 27314 0. 72 及其所之既惓 top left 43510 11852 31658 0. 37 Upper right 43052 10628 32424 0. 33 Bottom left 42714 11940 30774 0. 39 Bottom right 42714 12996 29718 0. 44 感慨系之矣 top left 39525 9836 29689 0. 33 Upper right 40448 5477 34971 0. 16 Bottom left 39680 8476 31204 0. 27 Bottom right 40448 11662 28786 0. 41 向之所欣 top left 66340 30724 35616 0. 86 Upper right 66126 24707 41419 0. 60 Bottom left 64581 41432 23149 1. 79 Bottom right 64581 26250 38331 0. 68 俯仰之间 top left 45800 7542 38258 0. 20 Upper right 46230 8694 37536 0. 23 Bottom left 46716 13151 33565 0. 39 Bottom right 46893 11655 35238 0. 33 犹不能不以之兴怀 top left 56221 20231 35990 0. 56 Upper right 55744 16429 39315 0. 42 Bottom left 56221 15471 40750 0. 38 Bottom right 55952 14816 41136 0. 36 每揽昔人兴感之由 top left 28891 5172 23719 0. 22 Upper right 29410 5167 24243 0. 21 Bottom left 28891 17204 11687 1. 47 Bottom right 29410 15781 13629 1. 16 不能喻之于怀 top left 35090 13496 21594 0. 62 Upper right 34463 7075 27388 0. 26 Bottom left 34655 9553 25102 0. 38 Bottom right 33938 15318 18620 0. 82 后之视今 top left 44469 8658 35811 0. 24 Upper right 43862 10653 33209 0. 32 Bottom left 43983 15512 28471 0. 54 Bottom right 43621 11162 32459 0. 34 亦由今之视昔 top left 29028 10140 18888 0. 54 Upper right 29028 15108 13920 1. 09 Bottom left 29192 4077 25115 0. 16 Bottom right 29028 12772 16256 0. 79 后之览者 top left 26235 6552 19683 0. 33 Upper right 25758 5977 19781 0. 30 Bottom left 26240 8266 17974 0. 46 Bottom right 26082 10778 15304 0. 70 Table 3 Analysis of the maximum value, mean, standard deviation and median of the black and white ratio for the "之" grouping Name Sample size Minimum Maximum Mean Standard deviation Median Black 80 4034 41432 14321 7688 12722 White 80 11687 84767 33769 15866 29704 Table 4 Black and white ratio of "之" , top, bottom, left, and right " 之 "position Overall B/W Ratio Upper B/W Ratio Lower B/W Ratio Left B/W Ratio Right B/W Ratio 暮春之初 0. 47 0. 29 0. 71 0. 48 0. 46 会稽山阴之兰亭 0. 38 0. 36 0. 40 0. 48 0. 30 丝竹管弦之盛 0. 34 0. 27 0. 43 0. 35 0. 34 仰观宇宙之大 0. 32 0. 26 0. 38 0. 28 0. 35 俯察品类之盛 0. 35 0. 19 0. 57 0. 32 0. 39 视听之娱 0. 5 0. 42 0. 41 0. 39 0. 43 夫人之相娱 0. 47 0. 43 0. 50 0. 49 0. 45 悟言一室之内 0. 55 0. 55 0. 54 0. 50 0. 60 放浪形骸之外 0. 34 0. 33 0. 34 0. 29 0. 38 不知老之将至 0. 4 0. 38 0. 43 0. 31 0. 50 及其所之既惓 0. 38 0. 35 0. 41 0. 38 0. 38 感慨系之矣 0. 28 0. 24 0. 34 0. 30 0. 27 向之所欣 0. 89 0. 72 1. 10 1. 23 0. 64 俯仰之间 0. 28 0. 21 0. 36 0. 29 0. 28 犹不能不以之兴怀 0. 43 0. 49 0. 37 0. 47 0. 39 每揽昔人兴感之由 0. 59 0. 22 1. 30 0. 63 0. 55 不能喻之于怀 0. 49 0. 42 0. 57 0. 49 0. 49 后之视今 0. 35 0. 28 0. 44 0. 38 0. 33 亦由今之视昔 0. 57 0. 77 0. 41 0. 32 0. 92 后之览者 0. 43 0. 32 0. 57 0. 39 0. 48 Quantitative analysis reveals that the total white area of the character "之" exceeds the black area, with the pixel extremes of the blank spaces between strokes being twice as large as those of the strokes. Furthermore, the overall black-to-white ratio exhibits a significant positive correlation with the overall fractal dimensions (r=0.57, p<0.05), indicating that a larger black-to-white ratio corresponds to greater visual complexity. The sense is elevated. A correlation analysis was performed using the upper, lower, left, and right B/W ratios as independent variables and the overall fractal dimension as the dependent variable. The standardized coefficients of the independent variables are presented in Table 4, indicating that the left B/W ratio had the highest standardized coefficient of 4.22, signifying its predominant influence on overall visual complexity (Table 5). Table 5 Standardized typical coefficients of independent variables Independent variable Standardized typical coefficients of independent variables Upper B/W Ratio 2. 68 Lower B/W Ratio 2. 40 Left B/W Ratio 4. 22 Right B/W Ratio 1. 67 The pixel values of the strokes of the character "之" in each subgroup are distinct, exhibiting considerable variation. The spatial distribution analysis indicates that the majority of character examples adhere to the principles of proportionality and equilibrium, exhibiting a balanced left-to-right and top-to-bottom black-and-white ratio (mean ratio approximately 1:1). However, certain character examples display interjections, predominantly characterized by a sparse left and dense right (maximum ratio of 1:6) or a sparse top and dense bottom (maximum ratio of 1:3). The maximum ratio is 1:6, indicating that the upper section is sparse while the lower section is dense, with a maximum ratio of 1:3. The coexistence of regularity and variability exemplifies the principle of proportionality in regular script and mirrors the dynamic equilibrium produced by running script strokes. As Xiang Mu articulated in Elegant Remarks on Calligraphy, Round and square, square and round again; the positive can encompass the odd, and the odd does not detract from the positive, achieving a neutralization where beauty and goodness reside. Morphological Analysis of Spatial Representation in Calligraphic Font Characters Subsequent K-means clustering analysis is conducted, utilizing the height-to-width ratio, upper black-to-white ratio, lower black-to-white ratio, left black-to-white ratio, right black-to-white ratio, and overall black-to-white ratio of the 20 "之" characters as clustering parameters. The K-value is established by integrating the DB index and the silhouette coefficient method, where a smaller DB index and a larger silhouette coefficient indicate superior clustering efficacy. A superior clustering effect is characterized by increased intra-cluster tightness and enhanced inter-cluster separation. The optimal number of clusters, determined by the Davies-Bouldin (DB) index and silhouette coefficient, is three. The corresponding silhouette coefficient is 0.5911, and the DB index is 0.4237, indicating a favorable clustering effect with high reliability. A silhouette coefficient approaching 1 and a DB index below 1 signify effective clustering, marked by significant separation between clusters and tightly grouped cluster points. (Fig. 4, Fig. 5) Table 6 K-means clustering center table Aspect Ratio Overall B/W Ratio Upper B/W Ratio Lower B/W Ratio Left B/W Ratio Right B/W Ratio Cluster_1 0. 8767 0. 4242 0. 38 0. 5067 0. 3958 0. 4642 Cluster_2 1. 4186 0. 4043 0. 3171 0. 4857 0. 3986 0. 3886 Cluster_3 0. 97 0. 89 0. 72 1. 1 1. 23 0. 64 The study used K-means clustering analysis to categorize the character "之" in the Lanting Jiyu into three distinct groups (Table 6, Fig. 7). The first category (60%) exhibits a balanced black-white ratio across all spatial dimensions and a low height-to-width ratio, indicative of a well-proportioned and flat zigzag character; the second category (35%) retains a balanced spatial distribution but possesses a markedly higher height-to-width ratio, signifying the morphological traits of a well-proportioned and slender zigzag character; the third category (5%) approaches a height-to-width ratio of 1 yet displays considerable variation in the height-to-white ratio across different dimensions, corresponding to an interjection with numerous variations. The third category (5%) exhibits a height-to-width ratio near 1; however, the disparity in the black-to-white ratio between the top and bottom, as well as the left and right, aligns with the definition of interjection. The character "之" is primarily characterized by a flat and balanced construction (first category) and a slender and elevated yet balanced form (second category), with a minimal representation of the interjection (third category). This quantitative analysis demonstrates that Wang Xizhi's calligraphic work adheres to both the "flat" and "balanced" principles. This quantitative analysis demonstrates that Wang Xizhi's calligraphic work adheres to the principle of "flatness and correctness" while simultaneously disrupting equilibrium through selective variations, embodying the artistic aspiration of "harmony and difference." The attributes of the data distribution align with the creative principles of calligraphy theory, which posits, "Initially, one should focus solely on equality and accuracy; once these are mastered, one must continually seek risk and obsolescence." The diverse principles inherent in Wang Xizhi's calligraphy art yield a multitude of aesthetic forms, ranging from elegance and refinement to grace and dynamism. Formally, his brushwork exhibits a diverse range, with lines that are either robust and linear or elegant and fluid, demonstrating exceptional ink and brush techniques. Semantically, the works encapsulate the calligrapher's profound comprehension of existence while also reflecting the political stance of the literati. Aesthetically, this style is profoundly influenced by the metaphysics of the Wei and Jin dynasties, forging a distinctive and cohesive expression through the synthesis of opposites—reality and imagination, stasis and motion, as well as black and white—resulting in a singular aesthetic form. This artistic style was profoundly shaped by the metaphysics of Wei and Jin, establishing a distinctive aesthetic ambiance through the synthesis of opposites: reality and illusion, motion and stillness, and black and white. The unique historical context—characterized by a tumultuous social environment, a complex political climate, and the dominance of metaphysical thought—has fostered the development of Wang Xizhi's calligraphy, imbuing it with both formal beauty and philosophical depth, thereby rendering it an exemplary vessel of traditional Chinese aesthetic philosophy. Discussion This study looks at the character "之" in the Lanting Collection Preface of Shenlong Ben, using computer vision technology to explore how it is formed from three angles: how the character changes, its size proportions, the balance of white space around it, and how the image's virtual and real aspects interact, along with the character's shape and how space is understood within it, using partial correlation analysis. The study looks at how different features of the character "之," like its fractal dimension, black-to-white ratio, and aspect ratio, are related; it checks for important differences between groups using one-way ANOVA, and then uses cluster analysis to find patterns and classify the data. (1) An analysis of the fractal dimensions of the 20 characters "之" reveals that their overall fractal dimensions span from 1.62 to 1.84, while their edge fractal dimensions range from 1.04 to 1.24, indicating that the visual complexity of the character "之" is relatively stable. The visual complexity of the character "之" is consistently reflective of the self-similarity structural principle in calligraphy. (2) The total white area of the character "之" consistently exceeds the black area, with the maximum pixel value in the blank space between the strokes being twice that of the strokes. The overall amount of black compared to white shows a strong positive relationship with the overall fractal dimension (r=0.57, p<0.05), meaning that a higher black-to-white ratio is linked to more visual complexity. Furthermore, typical correlation analysis reveals that the black-to-white ratio on the left side of the character significantly impacts overall visual complexity. (3) The character "之" is categorized into three groups using K-means cluster analysis. The initial category (60%): the character is well-proportioned and flat, exhibiting a balanced spatial distribution. The second category (35%): the character possesses a well-proportioned physique, being slender and tall, with a harmonious spatial distribution. The third category (5%): interjections and variations, characterized by an uneven spatial distribution. This classification elucidates the interrelation of "equality" and "danger" in the creation of Wang Xizhi's calligraphy, embodying the artistic aspiration for "harmony and difference." In addition, this study also has the following shortcomings and prospects: First, the study only examines the “之” in the Lanting Collection Preface, and if the conclusion is to be extended to other calligraphic works of Wang Xizhi, it is necessary to further validate the characterization of other calligraphic works of Wang Xizhi as well as other calligraphic characters in the works. Secondly, this method can be applied to the study of the evolution of calligraphy styles in different historical periods. By quantitatively analyzing the calligraphic works of different periods, it helps to explain the history of the development of Chinese calligraphy from a rational point of view. In conclusion, this study systematically and quantitatively analyzes the character "之" in the Shenlong text of the Lanting Collection Preface based on computer vision technology and reveals the intrinsic laws of Wang Xizhi's calligraphic stylization through the calculation of fractal dimension, K-means clustering, and spatial distribution statistics. The character "之" may be classified into three categories: flat and balanced (60%), thin and tall and balanced (35%), and interjectional and varied (5%), with an overall mean fractal dimension of 1.69 (CV=3.44%), indicating consistent visual complexity features. Correlation analysis indicates a significant positive correlation between the black-to-white ratio and the fractal dimension (r=0.57, p<0.05), with the black-to-white ratio of the left section exerting the most substantial influence on overall visual complexity (standardized coefficient of 4.22), thereby affirming the pursuit of the artistic principle of "harmony but difference." The study not only offers empirical evidence for the phenomenon of "the same character with different forms" but also critiques the occurrence of "ugly calligraphy" that strays from traditional aesthetic standards in contemporary calligraphic practice. This study's computer visual analysis method offers a novel framework for the digital look at calligraphic art and introduces new avenues for the development and theoretical exploration of modern calligraphy. Declarations Author Contribution L.L. was responsible for data analysis and the majority of the writing of the paper, while Z.C. was responsible for the writing and review of a part of the paper. All the authors reviewed and approved this manuscript. Data availability No datasets were generated or analysed during the current study. Competing interests The authors declare no competing interests. References Qi, G. The Complete Works of Qi Gong: Volume 3 Essays. Revised edition. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-6877942","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":485688938,"identity":"f1fe406a-74a5-4dc4-8736-e8a902f2e47f","order_by":0,"name":"Li Li","email":"","orcid":"","institution":"Hebei University of Science and Technology","correspondingAuthor":false,"prefix":"","firstName":"Li","middleName":"","lastName":"Li","suffix":""},{"id":485688939,"identity":"0a4d6a41-de28-4dc8-83c2-8af126d17b11","order_by":1,"name":"Zhao 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indices\u003c/p\u003e","description":"","filename":"5.png","url":"https://assets-eu.researchsquare.com/files/rs-6877942/v1/b366944255de0653605c5882.png"},{"id":87272017,"identity":"2ac6982c-8bc3-4bda-b379-07dd9ffff200","added_by":"auto","created_at":"2025-07-22 08:25:30","extension":"png","order_by":6,"title":"Figure 6","display":"","copyAsset":false,"role":"figure","size":81232,"visible":true,"origin":"","legend":"\u003cp\u003eScatter plot of clustering results based on aspect ratio vs. overall black-to-white ratio\u003c/p\u003e","description":"","filename":"6.png","url":"https://assets-eu.researchsquare.com/files/rs-6877942/v1/b8743960d133477f5f84a43f.png"},{"id":87269984,"identity":"91c4ead7-a338-4b8c-895f-be5db3b4d377","added_by":"auto","created_at":"2025-07-22 08:17:31","extension":"png","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":407940,"visible":true,"origin":"","legend":"\u003cp\u003eIllustration of the three types of \"之\" representation. \u003cstrong\u003e(a)\u003c/strong\u003e category 1, \u003cstrong\u003e(b)\u003c/strong\u003e category 2, \u003cstrong\u003e(c)\u003c/strong\u003e category 3\u003c/p\u003e","description":"","filename":"7.png","url":"https://assets-eu.researchsquare.com/files/rs-6877942/v1/b3086e390635a8ddf71c8c19.png"},{"id":100614769,"identity":"6458898d-57b4-47bf-93cf-7a3cc2666048","added_by":"auto","created_at":"2026-01-19 17:24:33","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":2014111,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-6877942/v1/1656220e-391c-4c19-b199-ea1b7a794d09.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"Computer vision analysis of 之 knotting patterns in the Chinese calligraphy work The Orchid Pavilion","fulltext":[{"header":"Introduction","content":"\u003cp\u003eThe rule of character formation serves as the fundamental legal and aesthetic basis of calligraphy, emphasizing both the artistic merit and cultural significance of the calligraphic style while also establishing the distinctive artistic language system of Chinese calligraphy. Historically, since Cai Yong from the Eastern Han Dynasty suggested that \"writing comes from nature, and yin and yang come from it,\" later calligraphers like Mrs. Wei and Wang Xizhi have explored the rules of how characters are formed, creating a theory based on the balance of yin and yang. This system focuses on the organic unity of contrasting elements such as length, size, sparseness, interjection, black and white, and the reality of dynamic balance\u0026nbsp;in transcending mechanical truth. Its essence serves as an artistic critique of the philosophical concepts of Taoism's yin and yang and Confucianism's neutrality and beauty. The law of junction helps guide the brush's movement through various twists and turns, looks at how space is limited in the central area, and uses the idea of white-as-black to turn simple lines into lively artistic images, showing the desire to master nature. The evolution of calligraphic styles reveals a progression from the equilibrium of Seal Script to the fluidity of Clerical Script, culminating in the precision of Regular Script. The final calligraphic style grew and changed significantly due to the knotting law, especially seen in the horizontal layout of Clerical Script during the Han Dynasty, marking an important moment in its history. The law of knotting is important because it helps create official writing and allows Chinese official script to develop into a unique art form, which has significant cultural importance as well.\u003c/p\u003e\n\u003cp\u003eAmong the various disciplines of Chinese artistic creation, calligraphy is the most prevalent, and the new media environment has enhanced this aspect of the art, leading to the practice of calligraphy, traditionally limited to literati and scholars, acquiring a social dimension in contemporary times. The emergence of this phenomenon has fostered a flourishing environment for contemporary calligraphy; however, the negative consequence of its popularization is the gradual divergence from fundamental aesthetic standards, resulting in a chaotic practice of the art. Among these, the alternative ugly book stands out as the most contentious subject, in contrast to the conventional popular calligraphy style. The support for modern calligraphy is found in a distorted text, where those who have taken the \"ink and brush of the times\" create a theory for this unattractive book with a fitting name. The fundamental issue identified in the creative process regarding the style of calligraphy is the disparity between conventional calligraphy theory and contemporary cognitive frameworks. The exploration of calligraphy theories across generations, encompassing rhyme, brushwork, and various arguments, remains restricted to the traditional literati framework of literary analysis. Various misunderstandings and mistakes have arisen from modern cognitive language practices, and while they align with current theories, their full proof remains elusive. Today’s calligraphy research uses scientific methods to prove traditional knotting theory by analyzing data, showing that proportional relationships, like the golden section, are common in calligraphic knotting by measuring things like the center of gravity and how much space the structure takes up. However, there remains potential for further systematic investigation of the knotting system by the academic community, which will be a significant focus in the future development of the discipline of calligraphy. Wang Xizhi's Lanting Preface is recognized as the apex of calligraphy. While the original has been interred within the tomb, the Shenlong version is acknowledged as the most faithful copy, having retained the original's allure to the greatest degree. The academic community widely concurred that it not only fully preserved the traits of the original penmanship but also that the line chapter accurately replicated the draft's original appearance when it was closest to the authentic copy\u003csup\u003e1\u003c/sup\u003e. Consequently, this paper focuses on the most representative character of calligraphy, \"之,\" from Shenlong Ben's The Orchid Pavilion, and analyzes and summarizes it by integrating various pixel parameters of the image through the application of computer vision technology. This paper focuses on the character \"之\" in The Orchid Pavilion as the subject of study and employs computer vision technology to analyze and summarize the principles of calligraphic creation by integrating various pixel parameters of the image, thereby seeking to explore new avenues for theoretical research in calligraphy with objective data and to broaden the theoretical dimensions and evaluative criteria of contemporary calligraphic practice.\u003c/p\u003e\n\u003cp\u003eThe existing study on the principles of calligraphic stylization primarily delineates four distinct avenues of inquiry. The initial category of research concentrates on the methodical analysis and elucidation of the stylization hypotheses from historical dynasties. Representatives such as Wang Songyu, in \"Study of Calligraphic Styles\" (1990), innovatively categorized Regular Script styles into two dimensions: \"correct\" and \"change.\" The term \"correct\" refers to the fundamental principles of harmony, proportionality, and uprightness within conventional norms. The \"positive\" aspects focus on the traditional ideas of harmony, proportionality, and accuracy, while the \"variable\" looks at the different styles of Regular Script by exploring how dots and strokes interact, the direction they go, the use of space, and the balance between being crowded and open\u003csup\u003e2\u003c/sup\u003e. The second type of inquiry mostly originates from the viewpoint of creative practice and undertakes methodological investigations on the arrangement of regular script. The most significant of these studies is the \"Golden Rule\" theory proposed by Mr. Qigong, who discovered that the stylistic pattern of Chinese characters is typically defined by a tight upper section and a loose lower section, a tight front and a loose back, as well as a tight interior and a loose exterior. He also noted that the visual center often deviates from the center of the traditional mizigraph or jiuguangge and that the structural ratio resembles the golden section ratio of 5:8, which aligns with the overall framework's golden section ratio. 0.382:0.618 inside the comprehensive structure\u003csup\u003e1\u003c/sup\u003e. The third category of inquiry seeks to employ Western formal space theory to analyze calligraphic forms across cultures. In his article “Structure and Space” in Form and Interpretation of Calligraphy (1993), Qiu Zhenzhong offers a new idea that calligraphic lines create a unique block of space by dividing a flat area, and this unevenness in visual tension creates a sense of movement within the structure. He indicated that the trajectory of the lines is dictated by their structure, and the flow of the lines renders the calligraphic space a visually cohesive system characterized by both dynamism and integrity\u003csup\u003e3\u003c/sup\u003e. The fourth area of research looks at combining calligraphy with the study of how people perceive beauty, aiming to create a new way to understand both fields together. The book Calligraphy: Form and Aesthetics (2000) \u003csup\u003e4\u003c/sup\u003euses Arnheim's theory of visual perception to look at old ideas about stylization, showing that calligraphic stylization includes basic features like \"dynamic balance,\" \"visual center,\" and \"inner tension.\" In Form-Force-Emotion (2019), Li Po-tan advances this research trajectory by integrating Arnheim's visual perception theory with traditional Chinese calligraphy principles. He suggests that the idea of \"force\" in architecture is key to connecting the shape of calligraphy with how it makes people feel, claiming that this balance of force allows the calligraphic shape to trigger emotions in viewers. This dynamic equilibrium of force enables the calligraphic shape to elicit an emotional response from the spectator\u003csup\u003e5\u003c/sup\u003e. Furthermore, with the swift advancement of digital technology, scholars commenced the active utilization of computer technology to perform comprehensive research on the art of calligraphy. In the article \"WuMKG: a Chinese painting and calligraphy multimodal knowledge graph,\" Jingwan et al. proposed a seal extraction and theme extraction method for Chinese paintings and calligraphy using image processing techniques\u003csup\u003e6\u003c/sup\u003e. Zhaogang Wang and his team created a dataset to identify different kinds of ancient scripts and suggested using hierarchical generalized networks to effectively recognize these scripts by extracting and combining features in stages\u003csup\u003e7\u003c/sup\u003e. Yu Jinhui et al. suggested a system for creating realistic cursive writing that can mimic the usual shapes of strokes, differences in brush texture, ink amount, and stroke moisture by adjusting several settings\u003csup\u003e8\u003c/sup\u003e. Pengfei Xu et al. proposed a shear bootstrap filter for automatic extraction of form and spirit information in calligraphy images\u003csup\u003e9\u003c/sup\u003e. An unsupervised calligraphic font generation network, SPFont, based on the Generative Adversarial Network (GAN) framework, was proposed by Fangmei Chen et al. The generator better preserves the fine features of fonts, such as stroke thickness and curve shape, and can generate higher quality Chinese calligraphy\u003csup\u003e10\u003c/sup\u003e.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;Even though there have been significant improvements in studying how calligraphy connects, especially by using ideas from Western psychology and visual perception, there is still a big lack of using computer vision, artificial intelligence, and other new technologies to analyze calligraphic connections in a measurable way. This research gap not only hinders the accurate delineation and validation of calligraphic artistic principles but also constrains the profound integration of calligraphic art with contemporary technology. Future research needs to improve the use of different methods from various fields while keeping the depth of traditional ideas, especially by using digital analysis technology, to help study calligraphic connections in a more accurate and organized way.\u003c/p\u003e"},{"header":"Methods","content":"\u003cp\u003eFor the purpose of this study, high-definition photographs of the Shenlongben Lantingji Preface were utilized to pick twenty instances of the character \u0026quot;之\u0026quot; as topics for empirical investigation. Extracting the square image region of each \u0026quot;之\u0026quot; and detecting its edges by computer vision techniques. Subsequently, the fractal dimension, aspect ratio, and pixel black/white ratio are computed. During the period during which the data is being processed, each character is initially examined. A preliminary descriptive statistical analysis of each parameter is carried out, which includes the computation of the coefficient of variation, the mean, the variance, and the extreme values. After that, a more comprehensive data mining technique is carried out with the assistance of DMSAS software. This approach incorporates correlation analysis and K-means clustering analysis to elucidate the inherent correlations and classification features that are associated with the character \u0026quot;之.\u0026quot; In order to create a visual representation of the data, the data visualization method is applied. Using data visualization technologies, the findings of the study are presented in order to statistically explore the structural principles of the character \u0026quot;之\u0026quot; in Wang Xizhi\u0026rsquo;s calligraphy. This allows for a fresh approach to be developed in order to rationally evaluate the formal aspects of calligraphic art.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdge detection\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThis study used edge detection algorithms to extract boundary structural information of landscape elements in \u0026quot;之\u0026quot; images\u003csup\u003e11\u003c/sup\u003e. Edge detection is widely used in computer vision and image processing, and common algorithms include Roberts algorithm, Sobel algorithm, Prewitt algorithm, LOG algorithm, and Canny algorithm.The Roberts operator, while simple, can miss edges, lacks noise suppression, and is not precise in edge localization. The Prewitt operator, though straightforward, offers some noise resistance but may result in a coarse edge representation, neglecting the impact of the proximity of neighboring pixels to the current pixel. The Laplacian operator excels at detecting subtle edges but is susceptible to noise, potentially leading to a significant noise response and the loss of directional edge information. The Canny operator is adept at producing fine edges and effectively suppresses noise, yet its complexity and computational demands are considerable\u003csup\u003e12\u003c/sup\u003e. Sobel extracts edges based on the law of variation that the first-order directional derivative takes its maximum value at the edge\u003csup\u003e13\u003c/sup\u003e.The Sobel operator, on the other hand, balances these considerations, offering superior performance on noisy images and accurate edge localization\u003csup\u003e14\u003c/sup\u003e. Although it may not match the Canny operator in detection precision, its simplicity makes it ideal for real-time applications. Consequently, after a thorough evaluation, we opt for the Sobel operator to conduct edge detection\u003csup\u003e15\u003c/sup\u003e.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eFractal dimension\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eFractal geometry examines the uneven, self-similar structures inside mathematics. Initially proposed in 1975 by the American-French mathematician Benoit Mandelbrot (B. B. Mandelbrot)\u003csup\u003e16\u003c/sup\u003e, its initial definition refers to an \u0026quot;irregular, fractional, fragmented\u0026quot; object. Mandelbrot introduced the term to describe natural objects exhibiting intricate, irregular features that defy explanation through standard Euclidean geometry\u003csup\u003e17\u003c/sup\u003e. In fractal geometry, prevalent methods for quantifying dimension encompass the Hausdorff dimension derived from measure theory, the box-counting dimension based on mesh coverage, and the similarity dimension relevant to self-similar structures, with the box-counting dimension providing practical estimations through meshing techniques\u003csup\u003e18\u003c/sup\u003e. This research uses the box-count dimension to examine the complexity of \u0026quot;之\u0026quot;. In box counting dimension, the image is partitioned into numerous uniformly sized boxes, and subsequently, the coverage areas of the images within these boxes are computed. The quantity of boxes N(\u0026epsilon;) is augmented by progressively reducing the side lengths of the boxes and enhancing their coverage. A double logarithmic plot of N(\u0026epsilon;) against \u0026epsilon; is generated, and the curve is fitted using the least squares method; the slope of this curve represents the box-count dimension\u003csup\u003e19\u003c/sup\u003e. The precise formula is as follows.\u003c/p\u003e\n\u003cp\u003e\u003cimg src=\"data:image/png;base64,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\" width=\"202\" height=\"77\"\u003e\u003c/p\u003e\n\u003cp\u003ewhere O is the object to be fractalized, D(O) is the size of the fractal dimension of the object, \u0026epsilon; denotes the width of the box covering the fractal set, and N(\u0026epsilon;) denotes the number of non-empty boxes needed to cover the set\u003csup\u003e20\u003c/sup\u003e. The dimensionality formula indicates that the dimensionality of a tested item can be determined by enveloping it with small squares (boxes) of side length \u0026epsilon;. The dimensions of a box can be determined by the box count method. A greater box count dimension generally signifies a more irregular fractal structure of the object, along with an increase in its visual complexity.\u003c/p\u003e\n\u003cp\u003eThe procedure for calculating the fractal dimension is as follows: first, extract square images centered on all the \u0026quot;之\u0026quot; characters in the Lanting Preface, binarize these images to create black-and-white binary representations, and subsequently apply an edge detection algorithm to extract edge structural information for the subsequent \u0026quot;之\u0026quot; characters in the images, thereby providing a rational foundation for calligraphy research. The edge detection technique can extract the edge structure information of the character \u0026quot;之\u0026quot; in the image, providing the foundational wireframe file for the following calculation of the edge fractal dimension. The fractal dimensions of the overall \u0026quot;之\u0026quot; character and the \u0026quot;之\u0026quot; picture post-edge extraction are computed using the counting box dimension, with the findings quantitatively expressed to facilitate the analysis of the visual complexity of the \u0026quot;之\u0026quot; character. The visual complexity of the character \u0026quot;之\u0026quot; is illustrated in the algorithmic procedure below.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eK-means clustering analysis\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe DBSCAN is a clustering algorithm based on density, while the k-means is based on distance\u003csup\u003e21\u003c/sup\u003e. Compared to others, the k-means is simple and efficient, which can be applied to analyze the situation with large dataset\u003csup\u003e22\u003c/sup\u003e.Therefore, K-means was selected as the method of cluster analysis in this study. K-means is an unsupervised machine learning approach for cluster analysis, invented by James MacQueen in 1967\u003csup\u003e23\u003c/sup\u003e, that seeks to categorize sample data into distinct groups based on the similarity of sample attributes within a known dataset. The clustering process initiates with the random selection of K objects as initial centroids, subsequently calculating the distances of all objects from each centroid and assigning each object to the cluster corresponding to the nearest centroid. The centers and their designated items form the preliminary clusters. Upon completion of the assignment, the system recalibrates the locations of the cluster centers based on the items within the current cluster. The process continues iteratively until the termination criterion is met\u003csup\u003e24\u003c/sup\u003e. The termination condition encompasses any of the following:\u003c/p\u003e\n\u003cp\u003e(1) No items are reallocated to separate clusters, or the number of such reassignments is minimal.\u003c/p\u003e\n\u003cp\u003e(2) No cluster centers are altered, or only a minimal number are modified.\u003c/p\u003e\n\u003cp\u003e(3) The total of squared errors is minimized locally.\u003c/p\u003e\n\u003cp\u003eClustering results can be assessed using contour coefficients\u003csup\u003e25\u003c/sup\u003e and DB\u003csup\u003e26\u003c/sup\u003e index evaluation: the profile coefficient ranges from -1 to 1, with values approaching 1 indicating a more favorable clustering impact. Currently, the sample points exhibit a high degree of similarity with other points within the same cluster while simultaneously displaying significant differences from other clusters. When the coefficient approaches 0, it signifies that the sample points are situated at the boundary between clusters, indicating the clustering. A coefficient of 0 indicates that the sample points are situated at the boundary between clusters, resulting in a mediocre clustering impact; a negative value suggests potential misclassification of the sample points. The DB index serves as an inverse measure of clustering quality, with a smaller value indicating superior clustering performance. When the DB index is below 1, it signifies that the samples within the cluster are tightly grouped and the separation between clusters is substantial, indicating an excellent clustering effect; an index value between 1 and 2 denotes a moderate clustering effect; if the value surpasses 2, it suggests potential overlap between clusters, indicating a poor clustering effect. These two indices evaluate clustering quality from distinct viewpoints: \u0026nbsp;The profile coefficient emphasizes the rationality of attributing individual sample points, whereas the DB index concentrates on the overall equilibrium between intra-cluster cohesion and inter-cluster divergence. The reliability of cluster analysis in actual applications can be thoroughly evaluated by integrating the assessment findings of both indicators.\u003c/p\u003e"},{"header":"Results","content":"\u003cp\u003e\u003cstrong\u003eAdjust the dimensions and variances of homographs in calligraphic typefaces\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe development of the art of Chinese calligraphy, always through the creative exploration of the language of ink and brush, its stylized form presents an infinite variety of forms of evolution. The \u0026quot;Jin Shu-Wang Xizhi biography\u0026quot; states, \u0026quot;Commentators describe its brushwork as ethereal, akin to drifting clouds, resembling dragons.\u0026quot; Wang Xizhi\u0026apos;s calligraphy signified a significant transition in the aesthetic framework of Chinese calligraphy from \u0026quot;ancient quality\u0026quot; to \u0026quot;modern elegance.\u0026quot; According to Song Cao\u0026apos;s \u0026quot;About Calligraphy,\u0026quot; his works are \u0026quot;vigorous in penmanship, heterogeneous in character, and distinctive in line,\u0026quot; exemplifying the law in both natural and celestial forms. Wang Xizhi, embodying the elevated and haughty Wei Jin aesthetic, revolutionized the rudimentary calligraphy of the Han and Wei Dynasties into a novel style characterized by its natural fluidity, elegance, and accessibility, therefore ushering Chinese calligraphy into a new epoch of cultural self-awareness. This transition holds substantial art historical significance.\u003c/p\u003e\n\u003cp\u003eThe Lanting Preface, a calligraphic masterpiece by Wang Xizhi, was composed at the age of fifty in the Lanting Pavilion, Shanyin, Huiji, on the first day of the sixth month in the ninth year of the Eastern Jin Dynasty (353 AD). Historical records suggest that while slightly inebriated, Wang Xizhi revitalized his brush and produced the Lanting Preface, which has persisted through the ages, exemplifying his masterful brushwork that expressed his profound emotions through ink and brush.\u0026nbsp;This artwork exemplifies the quintessential traits of Wang Xizhi\u0026apos;s later calligraphic style: an apparent inability to restrain a profound adherence to form, with strokes that are spontaneous, fluid, and rich in variation. The calligraphic approach integrates brushwork from seal writing, official script, zhang cao, and various other forms, characterized by the rhythmic elevation and descent of the central strokes, with lines that disperse freely akin to flowing water and drifting clouds. The work illustrates Wang Xizhi\u0026apos;s exceptional skill in character formation, employing varied treatments of identical characters through both regular and cursive scripts, while embedding a perilous and urgent energy within the fluid structure. As Dong Qichang noted in his Essays on Painting Zen Rooms, \u0026quot;Righteousness.\u0026quot; The Lanting Preface, comprising chapters that are unprecedented in both ancient and modern contexts, is an artistic composition wherein each character emerges from a contemplation of the collective, regardless of size, and all are inherently aligned with the law, rendering them sacred works. Within a sheet of paper, the words vary, and the lines differ.\u0026nbsp;The composition of the 20 \u0026quot;之\u0026quot; characters is frequently lauded; while utilizing identical strokes, there exist both straight and curved variations. Although they share a common side, the penmanship exhibits distinctions in width and narrowness.\u003csup\u003e27\u003c/sup\u003e The fractal dimension, as a statistical measure in fractal geometry, quantifies the complexity and irregularity of a fractal object or pattern. Fractal dimension, as a statistical term in fractal geometry, quantifies the complexity and irregularity of a fractal object or pattern. Calculating the fractal dimension of 20 instances of the character \u0026quot;之\u0026quot; allows for a scientific examination of character development, hence offering a rational foundation for calligraphy research. The following data were produced based on the various features of the 20 \u0026quot;之\u0026quot; characters (Table 1).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 1\u003c/strong\u003e Aspect ratio and fractal dimension statistics of the character \u0026quot;之\u0026quot;\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026quot;\u003c/strong\u003e\u003cstrong\u003e之\u003c/strong\u003e\u003cstrong\u003e\u0026quot;position\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eHeight\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eWidth\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eProportion\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eOverall Fractal \u0026nbsp;Dimension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;Edge Fractal Dimension\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e不能喻之于怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e92. 91\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e55. 96\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 66\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7687\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1455\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e感慨系之矣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e111. 88\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e68. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7513\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1318\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e视听之娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e78. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e50. 25\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7299\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1062\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e丝竹管弦之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e114. 25\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e87. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 31\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 5796\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1480\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e犹不能不以之兴怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e86. 06\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e66. 72\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6156\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 2395\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e6\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e不知老之将至\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e99. 03\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e78. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 26\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6710\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1231\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e7\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e及其所之既惓\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e94. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e78. 81\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7190\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1211\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e8\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e亦由今之视昔\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e83. 17\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e76. 94\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 08\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6544\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0886\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e9\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e夫人之相娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e72. 76\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e68. 56\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 06\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6232\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1092\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e10\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e每揽昔人兴感之由\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e83. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e81. 51\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 02\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6710\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0682\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e11\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e放浪形骸之外\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e61. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e62. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 98\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6713\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1303\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e12\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e俯察品类之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e66. 9\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e69. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 97\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7022\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1295\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e13\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e悟言一室之内\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e58. 99\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e60. 67\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 97\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 8359\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1058\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e14\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e后之览者\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e82. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e84. 82\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 97\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6791\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1001\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e15\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e俯仰之间\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e97. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e111. 11\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 88\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6542\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0971\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e16\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e仰观宇宙之大\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e91. 85\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e108. 48\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 85\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6578\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0818\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e17\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e后之视今\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e75. 52\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e100. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7063\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0360\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e18\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e向之所欣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e96. 09\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e140. 15\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 69\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6589\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1428\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e19\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e会稽山阴之兰亭\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e69. 14\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e102. 13\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 7112\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 0747\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 29px;\"\u003e\n \u003cp\u003e20\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 123px;\"\u003e\n \u003cp\u003e暮春之初\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 55px;\"\u003e\n \u003cp\u003e62. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 56px;\"\u003e\n \u003cp\u003e105. 59\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 59\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 112px;\"\u003e\n \u003cp\u003e1. 6970\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 99px;\"\u003e\n \u003cp\u003e1. 1167\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eAccording to the quantitative analysis of the aspect ratio of the character \u0026quot;之\u0026quot;, its morphological characteristics can be summarized into two typical types: one type exhibits a flat square structure with an aspect ratio typically below 1, characterized by prominent horizontal strokes, robust horizontal folds, and a down stroke that is crisp and incisive, yet leaves a lingering impression. The alternative character form is defined by a longitudinal structure and diverse shape, reflecting the writer\u0026apos;s adept management of technique and suggesting an uninhibited approach to life. Research data indicate that the perceived elegance and aesthetic appeal of calligraphy are fundamentally rooted in a meticulous understanding of character proportionality, with varying width-to-height ratios (0.59-1.66) directly influencing the visual attributes of the characters, while the rhythmic contrasts of the strokes impart a distinctive sense of rhythm to the works. This quantitative analysis elucidates the stylistic principle that \u0026quot;shape is derived from character, and posture is determined by context\u0026quot; in classical calligraphy theory, thereby affirming the mathematical foundation of calligraphic formal aesthetics.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAssessment of Calligraphy\u0026apos;s Black and White Balance and Ink Intensity\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eCalligraphy is distilled into black lines on white paper, with its monochromatic palette encapsulating the variations of lines and sections, alluding to the pinnacle of Chinese philosophy: \u0026quot;All things return to one; one is the way.\u0026quot;\u003csup\u003e29\u003c/sup\u003e Chinese calligraphy has evolved from the rudimentary single-line carvings of oracle bone and gold inscriptions to a diverse array of styles, including seal scripts, official scripts, regular scripts, running scripts, and cursive scripts. The seal script of the Qin and Han dynasties is distinguished by its proportionality and gravitas, whereas the regular script of the Tang Dynasty is characterized by its adherence to strict regulations. Calligraphers from previous dynasties have produced diverse artistic expressions through the intensity of ink and brushwork, as well as the minimalism of structure. The emergence of the digital era has facilitated advancements in computer vision technology, creating new avenues for calligraphy research. High-precision image acquisition has not only achieved the digital preservation of calligraphy but also revitalized the traditional art of ink and brush in virtual environments, offering scientific and technological support for the preservation and innovation of calligraphy. In \u0026quot;The Lanting Preface,\u0026quot; the black and white pixel values of the upper left, upper right, lower left, and lower right groupings of the 20 \u0026quot;之\u0026quot; characters are acquired through image processing technology, followed by calculations to determine the upper, lower, left, right, and overall black and white ratios, as well as the mean and standard deviation of additional fundamental indices (Table 2-Table 4).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 2\u003c/strong\u003e Grouping of the word \u0026quot;之\u0026quot; and the overall black and white ratio\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"549\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 157px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026quot;\u003c/strong\u003e\u003cstrong\u003e之\u003c/strong\u003e\u003cstrong\u003e\u0026quot;position\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 88px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eGrouping\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eTotal \u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eBlack\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eWhite\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eRatio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e暮春之初\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e62146\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14088\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e48058\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e62918\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14256\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e48662\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e62146\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e26382\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e35764\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 74\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e62400\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e25137\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e37263\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 67\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e会稽山阴之兰亭\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e105732\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e35175\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e70557\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 50\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e105198\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e20431\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e84767\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 24\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e105465\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e32966\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e72499\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 45\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e105732\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e27769\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e77963\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 36\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e丝竹管弦之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e30049\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e6336\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e23713\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 27\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29850\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e6295\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e23555\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 27\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29596\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e9011\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e20585\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 44\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29445\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8866\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e20579\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e仰观宇宙之大\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e89976\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e16271\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e73705\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 22\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e90804\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e20730\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e70074\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 30\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e89748\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e23177\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e66571\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e91133\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e26824\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e64309\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e俯察品类之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34580\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e4034\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e30546\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 13\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34034\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e6888\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27146\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 25\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34587\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e12671\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e21916\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 58\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34404\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e12401\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e22003\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 56\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e视听之娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e24257\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e6264\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e17933\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e24066\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e7941\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e16125\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e25956\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e7877\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e18079\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 44\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e26035\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e7173\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e18862\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e夫人之相娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e68057\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e22387\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e45670\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e68834\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e18967\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e49867\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e68834\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e22500\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e46334\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e68326\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e23428\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e44898\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 52\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e悟言一室之内\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42427\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e13234\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e29193\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 45\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42224\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e16935\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e25289\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 67\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42432\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14827\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27605\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 54\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42224\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14797\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27427\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 54\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e放浪形骸之外\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e37632\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8563\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e29069\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e38021\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10159\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27862\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 36\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e37635\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8473\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e29162\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e38021\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10827\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27194\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 40\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e不知老之将至\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e56560\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e16305\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e40255\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e56840\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14696\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e42144\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e47096\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8460\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e38636\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 22\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e47096\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e19782\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27314\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 72\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e及其所之既惓\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e43510\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e11852\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e31658\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 37\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e43052\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10628\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e32424\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42714\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e11940\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e30774\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e42714\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e12996\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e29718\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 44\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e感慨系之矣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e39525\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e9836\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e29689\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e40448\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e5477\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e34971\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 16\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e39680\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8476\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e31204\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 27\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e40448\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e11662\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e28786\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e向之所欣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e66340\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e30724\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e35616\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 86\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e66126\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e24707\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e41419\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 60\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e64581\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e41432\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e23149\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e1. 79\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e64581\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e26250\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e38331\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e俯仰之间\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e45800\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e7542\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e38258\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 20\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e46230\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8694\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e37536\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 23\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e46716\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e13151\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e33565\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e46893\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e11655\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e35238\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e犹不能不以之兴怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e56221\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e20231\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e35990\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 56\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e55744\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e16429\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e39315\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e56221\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e15471\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e40750\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e55952\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e14816\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e41136\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 36\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e每揽昔人兴感之由\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e28891\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e5172\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e23719\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 22\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29410\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e5167\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e24243\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 21\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e28891\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e17204\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e11687\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e1. 47\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29410\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e15781\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e13629\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e1. 16\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e不能喻之于怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e35090\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e13496\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e21594\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 62\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34463\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e7075\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e27388\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 26\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e34655\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e9553\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e25102\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e33938\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e15318\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e18620\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 82\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e后之视今\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e44469\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8658\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e35811\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 24\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e43862\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10653\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e33209\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 32\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e43983\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e15512\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e28471\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 54\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e43621\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e11162\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e32459\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e亦由今之视昔\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29028\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10140\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e18888\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 54\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29028\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e15108\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e13920\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e1. 09\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29192\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e4077\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e25115\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 16\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29028\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e12772\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e16256\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 79\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 157px;\"\u003e\n \u003cp\u003e后之览者\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003etop left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e26235\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e6552\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e19683\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eUpper right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e25758\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e5977\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e19781\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 30\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom left\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e26240\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e8266\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e17974\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 46\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 88px;\"\u003e\n \u003cp\u003eBottom right\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e26082\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e10778\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 74px;\"\u003e\n \u003cp\u003e15304\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 70\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003e\u003cstrong\u003eTable 3\u003c/strong\u003e Analysis of the maximum value, mean, standard deviation and median of the black and white ratio for the \u0026quot;之\u0026quot; grouping\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" align=\"\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 68px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eName\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eSample size\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eMinimum\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eMaximum\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eMean\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eStandard deviation\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 75px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eMedian\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 68px;\"\u003e\n \u003cp\u003eBlack\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e80\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e4034\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e41432\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e14321\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e7688\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 75px;\"\u003e\n \u003cp\u003e12722\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 68px;\"\u003e\n \u003cp\u003eWhite\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e80\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e11687\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e84767\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e33769\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 82px;\"\u003e\n \u003cp\u003e15866\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 75px;\"\u003e\n \u003cp\u003e29704\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003e\u003cstrong\u003eTable 4\u003c/strong\u003e Black and white ratio of \u0026quot;之\u0026quot; , top, bottom, left, and right\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"552\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026quot;\u003c/strong\u003e\u003cstrong\u003e之\u003c/strong\u003e\u003cstrong\u003e\u0026quot;position\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eOverall\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eUpper\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;B/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eLower\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eLeft\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eRight\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e暮春之初\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 71\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 48\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 46\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e会稽山阴之兰亭\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 36\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 40\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 48\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 30\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e丝竹管弦之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 27\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e仰观宇宙之大\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 32\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 26\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e俯察品类之盛\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 19\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 32\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e视听之娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e夫人之相娱\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 50\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 45\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e悟言一室之内\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 55\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 55\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 54\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 50\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 60\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e放浪形骸之外\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e不知老之将至\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 31\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 50\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e及其所之既惓\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e感慨系之矣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 24\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 30\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 27\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e向之所欣\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 89\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 72\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 10\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e1. 23\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e俯仰之间\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 21\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 36\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 29\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e犹不能不以之兴怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 37\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e每揽昔人兴感之由\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 59\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 22\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e1. 30\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 63\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 55\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e不能喻之于怀\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 42\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 49\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e后之视今\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 44\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 33\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e亦由今之视昔\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 77\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 32\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 92\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 150px;\"\u003e\n \u003cp\u003e后之览者\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 79px;\"\u003e\n \u003cp\u003e0. 32\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 80px;\"\u003e\n \u003cp\u003e0. 57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0. 39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e0. 48\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eQuantitative analysis reveals that the total white area of the character \u0026quot;之\u0026quot; exceeds the black area, with the pixel extremes of the blank spaces between strokes being twice as large as those of the strokes. Furthermore, the overall black-to-white ratio exhibits a significant positive correlation with the overall fractal dimensions (r=0.57, p\u0026lt;0.05), indicating that a larger black-to-white ratio corresponds to greater visual complexity. The sense is elevated. A correlation analysis was performed using the upper, lower, left, and right B/W ratios as independent variables and the overall fractal dimension as the dependent variable. The standardized coefficients of the independent variables are presented in Table 4, indicating that the left B/W ratio had the highest standardized coefficient of 4.22, signifying its predominant influence on overall visual complexity (Table 5).\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;\u003cstrong\u003eTable 5\u003c/strong\u003e Standardized typical coefficients of independent variables\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" align=\"\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 197px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eIndependent variable\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 355px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eStandardized typical coefficients of independent variables\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 197px;\"\u003e\n \u003cp\u003eUpper B/W Ratio\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 355px;\"\u003e\n \u003cp\u003e2. 68\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 197px;\"\u003e\n \u003cp\u003eLower B/W Ratio\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 355px;\"\u003e\n \u003cp\u003e2. 40\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 197px;\"\u003e\n \u003cp\u003eLeft B/W Ratio\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 355px;\"\u003e\n \u003cp\u003e4. 22\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd valign=\"top\" style=\"width: 197px;\"\u003e\n \u003cp\u003eRight B/W Ratio\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd valign=\"top\" style=\"width: 355px;\"\u003e\n \u003cp\u003e1. 67\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eThe pixel values of the strokes of the character \u0026quot;之\u0026quot; in each subgroup are distinct, exhibiting considerable variation. The spatial distribution analysis indicates that the majority of character examples adhere to the principles of proportionality and equilibrium, exhibiting a balanced left-to-right and top-to-bottom black-and-white ratio (mean ratio approximately 1:1). However, certain character examples display interjections, predominantly characterized by a sparse left and dense right (maximum ratio of 1:6) or a sparse top and dense bottom (maximum ratio of 1:3). The maximum ratio is 1:6, indicating that the upper section is sparse while the lower section is dense, with a maximum ratio of 1:3. The coexistence of regularity and variability exemplifies the principle of proportionality in regular script and mirrors the dynamic equilibrium produced by running script strokes. As Xiang Mu articulated in Elegant Remarks on Calligraphy, Round and square, square and round again; the positive can encompass the odd, and the odd does not detract from the positive, achieving a neutralization where beauty and goodness reside.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eMorphological Analysis of Spatial Representation in Calligraphic Font Characters\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eSubsequent K-means clustering analysis is conducted, utilizing the height-to-width ratio, upper black-to-white ratio, lower black-to-white ratio, left black-to-white ratio, right black-to-white ratio, and overall black-to-white ratio of the 20 \u0026quot;之\u0026quot; characters as clustering parameters. The K-value is established by integrating the DB index and the silhouette coefficient method, where a smaller DB index and a larger silhouette coefficient indicate superior clustering efficacy. A superior clustering effect is characterized by increased intra-cluster tightness and enhanced inter-cluster separation. The optimal number of clusters, determined by the Davies-Bouldin (DB) index and silhouette coefficient, is three. The corresponding silhouette coefficient is 0.5911, and the DB index is 0.4237, indicating a favorable clustering effect with high reliability. A silhouette coefficient approaching 1 and a DB index below 1 signify effective clustering, marked by significant separation between clusters and tightly grouped cluster points. (Fig. 4, Fig. 5)\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 6\u003c/strong\u003e K-means clustering center table\u003c/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003e\u0026nbsp;\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 67px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eAspect Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 84px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eOverall\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 91px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eUpper\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u0026nbsp;B/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eLower\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eLeft\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e\u003cstrong\u003eRight\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eB/W Ratio\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003eCluster_1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 67px;\"\u003e\n \u003cp\u003e0. 8767\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 84px;\"\u003e\n \u003cp\u003e0. 4242\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 91px;\"\u003e\n \u003cp\u003e0. 38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 5067\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e0. 3958\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 4642\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003eCluster_2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 67px;\"\u003e\n \u003cp\u003e1. 4186\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 84px;\"\u003e\n \u003cp\u003e0. 4043\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 91px;\"\u003e\n \u003cp\u003e0. 3171\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 4857\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e0. 3986\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 3886\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 76px;\"\u003e\n \u003cp\u003eCluster_3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 67px;\"\u003e\n \u003cp\u003e0. 97\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 84px;\"\u003e\n \u003cp\u003e0. 89\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 91px;\"\u003e\n \u003cp\u003e0. 72\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e1. 1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 77px;\"\u003e\n \u003cp\u003e1. 23\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 81px;\"\u003e\n \u003cp\u003e0. 64\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003eThe study used K-means clustering analysis to categorize the character \u0026quot;之\u0026quot; in the Lanting Jiyu into three distinct groups (Table 6, Fig. 7). The first category (60%) exhibits a balanced black-white ratio across all spatial dimensions and a low height-to-width ratio, indicative of a well-proportioned and flat zigzag character; the second category (35%) retains a balanced spatial distribution but possesses a markedly higher height-to-width ratio, signifying the morphological traits of a well-proportioned and slender zigzag character; the third category (5%) approaches a height-to-width ratio of 1 yet displays considerable variation in the height-to-white ratio across different dimensions, corresponding to an interjection with numerous variations. The third category (5%) exhibits a height-to-width ratio near 1; however, the disparity in the black-to-white ratio between the top and bottom, as well as the left and right, aligns with the definition of interjection. The character \u0026quot;之\u0026quot; is primarily characterized by a flat and balanced construction (first category) and a slender and elevated yet balanced form (second category), with a minimal representation of the interjection (third category). This quantitative analysis demonstrates that Wang Xizhi\u0026apos;s calligraphic work adheres to both the \u0026quot;flat\u0026quot; and \u0026quot;balanced\u0026quot; principles. This quantitative analysis demonstrates that Wang Xizhi\u0026apos;s calligraphic work adheres to the principle of \u0026quot;flatness and correctness\u0026quot; while simultaneously disrupting equilibrium through selective variations, embodying the artistic aspiration of \u0026quot;harmony and difference.\u0026quot; The attributes of the data distribution align with the creative principles of calligraphy theory, which posits, \u0026quot;Initially, one should focus solely on equality and accuracy; once these are mastered, one must continually seek risk and obsolescence.\u0026quot; The diverse principles inherent in Wang Xizhi\u0026apos;s calligraphy art yield a multitude of aesthetic forms, ranging from elegance and refinement to grace and dynamism. Formally, his brushwork exhibits a diverse range, with lines that are either robust and linear or elegant and fluid, demonstrating exceptional ink and brush techniques. Semantically, the works encapsulate the calligrapher\u0026apos;s profound comprehension of existence while also reflecting the political stance of the literati. Aesthetically, this style is profoundly influenced by the metaphysics of the Wei and Jin dynasties, forging a distinctive and cohesive expression through the synthesis of opposites\u0026mdash;reality and imagination, stasis and motion, as well as black and white\u0026mdash;resulting in a singular aesthetic form. This artistic style was profoundly shaped by the metaphysics of Wei and Jin, establishing a distinctive aesthetic ambiance through the synthesis of opposites: reality and illusion, motion and stillness, and black and white. The unique historical context\u0026mdash;characterized by a tumultuous social environment, a complex political climate, and the dominance of metaphysical thought\u0026mdash;has fostered the development of Wang Xizhi\u0026apos;s calligraphy, imbuing it with both formal beauty and philosophical depth, thereby rendering it an exemplary vessel of traditional Chinese aesthetic philosophy.\u003c/p\u003e"},{"header":"Discussion","content":"\u003cp\u003eThis study looks at the character \u0026quot;之\u0026quot; in the Lanting Collection Preface of Shenlong Ben, using computer vision technology to explore how it is formed from three angles: how the character changes, its size proportions, the balance of white space around it, and how the image\u0026apos;s virtual and real aspects interact, along with the character\u0026apos;s shape and how space is understood within it, using partial correlation analysis. The study looks at how different features of the character \u0026quot;之,\u0026quot; like its fractal dimension, black-to-white ratio, and aspect ratio, are related; it checks for important differences between groups using one-way ANOVA, and then uses cluster analysis to find patterns and classify the data.\u003c/p\u003e\n\u003cp\u003e(1) An analysis of the fractal dimensions of the 20 characters \u0026quot;之\u0026quot; reveals that their overall fractal dimensions span from 1.62 to 1.84, while their edge fractal dimensions range from 1.04 to 1.24, indicating that the visual complexity of the character \u0026quot;之\u0026quot; is relatively stable. The visual complexity of the character \u0026quot;之\u0026quot; is consistently reflective of the self-similarity structural principle in calligraphy.\u003c/p\u003e\n\u003cp\u003e(2) The total white area of the character \u0026quot;之\u0026quot; consistently exceeds the black area, with the maximum pixel value in the blank space between the strokes being twice that of the strokes. The overall amount of black compared to white shows a strong positive relationship with the overall fractal dimension (r=0.57, p\u0026lt;0.05), meaning that a higher black-to-white ratio is linked to more visual complexity. Furthermore, typical correlation analysis reveals that the black-to-white ratio on the left side of the character significantly impacts overall visual complexity.\u003c/p\u003e\n\u003cp\u003e(3) The character \u0026quot;之\u0026quot; is categorized into three groups using K-means cluster analysis. The initial category (60%): the character is well-proportioned and flat, exhibiting a balanced spatial distribution. The second category (35%): the character possesses a well-proportioned physique, being slender and tall, with a harmonious spatial distribution. The third category (5%): interjections and variations, characterized by an uneven spatial distribution. This classification elucidates the interrelation of \u0026quot;equality\u0026quot; and \u0026quot;danger\u0026quot; in the creation of Wang Xizhi\u0026apos;s calligraphy, embodying the artistic aspiration for \u0026quot;harmony and difference.\u0026quot;\u003c/p\u003e\n\u003cp\u003eIn addition, this study also has the following shortcomings and\u0026nbsp;prospects: First, the study only examines the \u0026ldquo;之\u0026rdquo; in the Lanting Collection Preface, and if the conclusion is to be extended to other calligraphic works of Wang Xizhi, it is necessary to further validate the characterization of other calligraphic works of Wang Xizhi as well as other calligraphic characters in the works. Secondly, this method can be applied to the study of the evolution of calligraphy styles in different historical periods. By quantitatively analyzing the calligraphic works of different periods, it helps to explain the history of the development of Chinese calligraphy from a rational point of view.\u003c/p\u003e\n\u003cp\u003eIn conclusion, this study systematically and quantitatively analyzes the character \u0026quot;之\u0026quot; in the Shenlong text of the Lanting Collection Preface based on computer vision technology and reveals the intrinsic laws of Wang Xizhi\u0026apos;s calligraphic stylization through the calculation of fractal dimension, K-means clustering, and spatial distribution statistics. The character \u0026quot;之\u0026quot; may be classified into three categories: flat and balanced (60%), thin and tall and balanced (35%), and interjectional and varied (5%), with an overall mean fractal dimension of 1.69 (CV=3.44%), indicating consistent visual complexity features. Correlation analysis indicates a significant positive correlation between the black-to-white ratio and the fractal dimension (r=0.57, p\u0026lt;0.05), with the black-to-white ratio of the left section exerting the most substantial influence on overall visual complexity (standardized coefficient of 4.22), thereby affirming the pursuit of the artistic principle of \u0026quot;harmony but difference.\u0026quot; The study not only offers empirical evidence for the phenomenon of \u0026quot;the same character with different forms\u0026quot; but also critiques the occurrence of \u0026quot;ugly calligraphy\u0026quot; that strays from traditional aesthetic standards in contemporary calligraphic practice. This study\u0026apos;s computer visual analysis method offers a novel framework for the digital look at calligraphic art and introduces new avenues for the development and theoretical exploration of modern calligraphy.\u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eL.L. was responsible for data analysis and the majority of the writing of the paper, while Z.C. was responsible for the writing and review of a part of the paper. All the authors reviewed and approved this manuscript.\u003c/p\u003e\u003ch2\u003eData availability\u003c/h2\u003e\u003cp\u003eNo datasets were generated or analysed during the current study.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCompeting interests\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe authors declare no competing interests.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eQi, G. The Complete Works of Qi Gong: Volume 3 Essays. Revised edition. 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Art Dazhan, 2023, (08): 110-112. （王岳川. 王羲之书法理论与魏晋美学觉醒 [J]. 美术大观, 2023, (08): 110-112.）\u003c/li\u003e\n\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":true,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"npj-heritage-science","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"hsci","sideBox":"Learn more about [Heritage Science](http://heritagesciencejournal.springeropen.com)","snPcode":"40494","submissionUrl":"https://submission.nature.com/new-submission/40494/3","title":"npj Heritage Science","twitterHandle":"@SpringerOpen","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"em","reportingPortfolio":"BMC/SO AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":true},"keywords":"","lastPublishedDoi":"10.21203/rs.3.rs-6877942/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-6877942/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThis study examines the character \"之\" in the Preface of Shenlongben. We use a clear data image from The Orchid Pavilion to quantify its features through computer vision techniques such as Fraclab box counting, edge detection, and K-means cluster analysis. This study looks at the character \"之\" in The Orchid Pavilion using correlation analysis and other methods. It investigates the variations in the different forms of the same character, the proportional scale of its structure, the equilibrium of positive and negative space, and the interplay between the virtual and real dimensions. Additionally, it analyzes the configuration of the character and its spatial representation to seek a rational understanding of traditional calligraphy. The goal is to suggest a useful way to measure the rules of Chinese calligraphy. 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