"However, terms such as “hidden space dimensions,” “weird curved spaces,” “duality,” “mirror symmetry,” and others found in the physical theory of strings are exactly the terms that we have to apply if we want to accurately describe some of the arts (by certain art theorists “traditional and non-contemporary”) approaches and techniques such as this basic calligraphy and ink painting (Sumi-E) in particular. How to interpret it? Where does this timeless contemporaneous state come from? It is possible to correctly interpret it if we recognize and acknowledge the next creative mechanism: the authentic “artistic mind,” that is, when it functions in synchrony with the assumed multidimensional “reality,” behaves (“vibrates”) according to the nature and structure of this reality (here it would be the assumed “string,” which is then its own structure/architecture) apparently spontaneously (like surrealistic automatic drawing and painting?), pulling those lines that, as enlarged one-dimensional strings, describe “gravitational forces and the most logical paths through seemingly empty and non-existent space” on the paper surface in an attempt to present the motif essence."