The form and meaning of stippling in calligraphy creation have not changed qualitatively in appearance. For example, Yan Zhenqing's "Diligence Monument" emphasizes the horizontal fineness and vertical roughness of stippling, and emphasizes the heaviness and fullness of stippling ideologically. Ode to Shimen emphasizes that stippling is basically uniform in thickness, full of twists and turns and chic, and ideologically emphasizes the rhythm, rhythmic beauty, linear tension and elasticity of stippling.
Another example is Zhang Ruitu's overlapping, Huang Tingjian's strength; The exquisiteness and elegance of the big, the coarseness and confusion of Pan, and the heaviness and solemnity of Mao are all based on the principle of "shape", and their "meaning" is excavated, supplemented and recreated.
The meaning of stippling:
It is obviously much more difficult to express and state the meaning of stippling. The external characteristics of stippling in classical law posts are obvious, and it goes without saying that the application, integration and blending in the copying stage is not a simple matter. However, after all, it has a "shape" to follow and a law to follow.
It seems that the expression of the "meaning" of stippling in calligraphy creation can only be given from classical calligraphy posts. From the external form to the internal meaning, it is all contained in a stippling. You should think about the latecomers. Theoretically speaking, calligraphers in ancient and modern times attach great importance to the expression and statement of stippling "meaning" in calligraphy creation.