The form of calligraphy art is the simplest-only Chinese characters, only the combination of black and white, plus the change of paper color and mounting form and the collocation of red seals at most. However, in this simplest form, it contains infinitely varied and infinitely rich forms.
The historical forms of Chinese characters themselves are rich and colorful. From the initial Oracle Bone Inscriptions, to the bronze inscriptions in Shang and Zhou Dynasties, to the official script cursive script in Qin and Han Dynasties, and then to the running script after Han Dynasty, there are various transitional bodies among these forms. There are differences and connections between various historical forms and transitional bodies, and there is a great possibility of mutual communication. It can be said that there are many forests, which constitute a complex and changeable system. Calligraphy takes Chinese characters as the artistic creation material, which has a superior foundation and rich forms of expression. At this point, Japanese, Korean and linear western languages derived from Chinese characters are far behind.
As a recording tool, Chinese characters have their basic requirements in configuration to ensure the accuracy of word meaning recognition. However, this requirement is not rigid. As long as the relationship between the dot and the structure is basically stable, skew, length, Fiona Fang, etc. There is great flexibility in operation. Therefore, specific to every writer's pen, the form of Chinese characters is always ever-changing rather than one-sided, even in the Qing Dynasty.
In the process of writing, its concrete form has great plasticity. The writing tool of China's calligraphy, the brush, has a superior performance in shaping the form of stippling. The combination of the two makes the image of stippling, the basic formal element of China calligraphy art, infinitely rich.