To portray [the] interconnectivity relationship between one entity and all entities, Chih-i gives an example revealing the structures that constitute Chinese characters. In association with traditional writing, black ink is the basic element to enable written character to be formed. Thus, black ink is treated by Chih-i as the fundamental form to be used to depict the formulation of characters.

“Form can interpret all dharmas. It is like the black ink as form. With one stroke [i.e., horizontal stroke], it means ‘one’. With two strokes, it means ‘two’. With three strokes, it means ‘three’. Adding the vertical stroke (on the three horizontal lines), it means ‘king’ (Wang). Adding one stroke on the right, it means ‘the period from 1 a.m. to 3 a.m.’ (Ch’ou). Adding one stroke on the left, it means ‘field’, (T’ien). If the middle vertical line goes over the top, it means ‘due to’ (Yu). When this line goes over the bottom, it means ‘to explain’ (Shen). With such a bending and turning, the meanings that are signified are endless. It could be that one word interprets immeasurable dharmas, or immeasurable words commonly interpret one dharma; either immeasurable words interpret immeasurable dharmas, or one word interprets one dharma. With one dot of black ink slightly bending and turning, its interpretation differs greatly. Bending to the left, it is interpreted as ‘evil’ (E); bending to the right, it means ‘good’ (Shan). Writing the dot on top means “no outflow” (Wu-lou) [of defilement]; writing the dot on bottom means outflow (Yu-lou) [of defilement]. Being killed or alive, being prosperous or robbed, being ruined or honored, being in suffering or in joy, they are all in the form of ink. There is no dharma that is beyond ink. In short, black ink interprets immeasurable Teachings, Practices, and Principles. Black ink is also the foundation for Teaching, Practice, and Principle.”

By pointing out how the “black ink as form” (Hei-mo-se) can possibly work out in the development of writing various strokes in formulating various characters (with their different meanings), Chih-i presents an ontological concept about one dharma containing all dharmas, and all dharmas being identical to one dharma. “One dharma contains all dharmas” is demonstrated by Chih-i from the black ink (as the fundamental source) that functions to draw multitude strokes, from which various characters are formed. Since all characters are derived from strokes and all strokes are derived from the black ink (as form), this demonstrates that all dharmas are identical to one dharma. Therefore, this second type of sign interpretation vividly depicts the dynamic nature of Chih-i ‘s perfect harmonization philosophy. (Page 95-96)