One is thick. Roughness means that calligraphy stippling should be rough, complete and three-dimensional. The higher level is profound artistic conception, or spiritual and tasteful, but coarseness cannot be equal to coarseness, and fine lines should also reflect the current heavy feeling.
The second is heavy. Thickness and weight are generally discussed at the same time, but there are still differences between them. Weight pays more attention to the sense of lifting and heaviness of lines. Liu Xizai said in "Introduction to Art" that if you want to fly with a pen, you should press it lightly. Lifting a pen is as easy as lifting weights. It seems useless, but the strength lies in it.
The third is strength. Huang once said: "The power of the same pen is different, and there are similarities in differences. Zhang Changshi broke the hairpin, Master Yan leaked it, Wang Youjun painted Yin Yinni in sand, Huai Su birds came out of the forest, and Suo Jingyin hooked the silver tail. " Force is the foundation of calligraphy. Without the support of force, the writing process of calligraphy cannot be completed.
The fourth is feeling. Using the concept of texture to discuss painting and calligraphy stippling is tantamount to adding a theoretical paradox, which is not conducive to practice, just like a three-dimensional sense. Now, I'd like to quote two paragraphs about texture from some scholars: the brushwork is a sense of strength. This strength is that the lines are tough and tough.
Historical background of calligraphy
More than 8,000 years ago, Cishan and Peiligang cultures appeared in the Yellow River basin, and there were many symbols on the handmade ceramics unearthed in Peiligang. This symbol is a chaotic combination of our ancestors' communication function, note-taking function and pattern decoration function. Although these are not real Chinese characters, they are the embryonic forms of Chinese characters.
Immediately after the Banpo site of Yangshao culture about 6000 years ago, some painted pottery with similar characters were unearthed. These symbols are distinguished from patterns, which promotes the development of Chinese characters. This can be said to be the origin of China characters.
Then Erlitou culture and Erligang culture. In the archaeological excavation of Erlitou culture, there are 24 kinds of marked pottery pieces, some of which are similar to Oracle Bone Inscriptions in Yin Ruins, and all of them are single independent characters. Erligang culture was found to have a writing system. Three bones with words were found here, two with words and a cross, which seemed to be carved for practicing lettering.