Most viewers who enjoy Aaqus do not read the calligraphy. That does not matter. Viewers first and foremost enjoy the mysterious aesthetics of the ciphers.

Even collectors educated in calligraphic cultures (such as Japan) approach the ciphers in Aaqus in terms of the whole painting's aesthetics, rather than reading any text. In the 1990s, the collector of this sea painting - a friendly, wise world traveller and graduate of Wasada University Tokyo - surprised me by asking me to read the calligraphy and interpret it in my own (Australian) words.

Text is mostly outside the aesthetic experience of fine art. It is more of an adjunct to viewing. Text may open into the realm of poetry, or may open into the realm of narrative, conversation, and translation between viewers.

But the initial deep engagement with a painting is visual and very personal to the individual. Engagement is pre-verbal, even for highly literate people.

Calligraphy is integral to the Aaqus style. For artists around the world, the opportunity to explore expressive brush strokes and words at the same time as words obviously makes East Asian calligraphy attractive. It opens up narratives that flow around fine art.

East Asian calligraphy may be called Hanzi (China) Hanja (Korea) Hantu (Vietnam) Kanji (Japan)

			Follow the wave Quest the source Yan bo tao yuan
			Spring view back home. Renewed thoughts of native scenes. Chun si xiang jing
			Sou'westerly view. West South Wind'scape Xi nan Feng jing
			Love Ai
			Big Da
			Love Alice Ai Lisi
			Refreshing... Ocean Leaves Qing Xin Hai Ye
			Southern Tasmania Wilderness Sea = Direction Temple Zen Mind Nan Ta Sen Hai
			Ancient Eucalyptus Branches Hillside Lao An Zhi Po
			Brett Whiteley paints the existential character, 'Lightness of Being' in two of his murals - in 'American Dream' and in 'Alchemy'. Wu
		On a hill I wanted to retire, Yi qiu chang yu wo East Forest where I remember my teacher. Dong lin huai wo shi From Tang poem by Meng Haoran
	Fine art at home. Australian Peter Upward's 1962 zen calligraphy October Still with Featherstone furniture and Australian studio potters at NGV Melbourne 2018.
		Left: Contemporary art calligraphy in the Australian arts textbook VISIONS (Curriculum Corporation). Collage by Eric Quah. Right: Calligraphy 'Direct' by Aaqus. On loan to Sydney collection.
		Source of Eucalyptus Cosmetic Rouge An quan Yan zhi
			Fallen Eucalypt Lou An
			Ocean Cloud Island Handmade Photo Da hai Yun Dao
			Ancestral Legacy Night Forest Zu Chuan Ye Lin
			South Tasmania (pagoda) Astonishing Borderland Wonderland Nan Ta Qi Jing
			Artists seal Hua Desheng
			Vietnamese character South Nom