Originally this term indicated that a woman had a delicate figure, that she was fleshy and limber. Later it was used to judge calligraphy and painting, indicating that the circulation of the writing brush was lavish and vigorous, but that the strength of the bone (structure) was weak. Bone (structure) means skeletal structure, indicating weakness or vigor in the strength of the writing brush and in the structure of the work. “Fleshy” indicates that the lines are sumptuous and charming, but without strength, or that the ink is thick and the colors heavy. In the old days, it was stressed that a work of calligraphy or a painting should have a bone (structure) and be fleshy and that there should be a proper balance between the bone and flesh. There should neither be a lack of elegance nor of vigor and strength. Therefore, “fleshy body and soft bone structure” is regarded as a demerit. But when there is a stout bone structure and soft muscles, or when the bone structure is stout and the muscles are smooth, both are considered desirable. This term shifted from depicting human figures to appreciating art works, giving expression to the Chinese aesthetic concept of “using body parts to describe what is near.”

With delicate, fleshy and soft figures, the lady dancers delighted the audience with their performance. (Odes of Chu)

Those who are good at using the writing brush can create fresh and vigorous calligraphic pieces like a body with strong bone structure, whereas those who are not can only produce inky calligraphic pieces. A vigorous calligraphic work done without much ink is called “a sinewy work,” while a less vigorous piece done with much ink is called “an inky piglet.” A vigorous work is to be highly appreciated, while a less vigorous one is undesirable. (Lady Wei: On Maneuvers of Calligraphy)