qigong calligraphy masters came from regular script in Tang dynasty, such as Ou Yangxun, Liu Gongquan, etc. Although they used the pen as the "pen-and-pen center" and understood the brushwork of seal strokes, they combined fat and thin, but their strokes were monotonous and the structure was monotonous. "There are no two identical leaves in the world", but there are almost identical points, horizontal, left and right in Qigong's calligraphy. He weakened the expressive force of calligraphy into a general "beauty". Calligraphy has always attached importance to "taking the method to the top", but Qigong calligraphy failed to trace back to Wei and Jin Dynasties, and lacked the edification of Jinshi, Qin Zhuan and han li. Although he attaches great importance to traditional techniques and kung fu, he is only a good "character craftsman" to calligraphy as a performance art of mind and realm, but he is hard to get into spiritual products and yi pin.

The stylization of the opening pen makes calligraphy simple and mechanical, not the expression of free spirit, so it is "simple". From the perspective of realm meteorology, Qigong's calligraphy did not reach the level of ancient calligraphers. Although some of his calligraphy was respected by some people, the realm connotation of China's calligraphy was far more than that. Qigong's calligraphy is neat and beautiful, but the brushwork is not "ancient", and it is more interesting and less interesting. The pen is limited to monotonous "flow", "beauty", "beauty" and "smoothness", but I don't know the importance of using a pen in calligraphy, so the beauty of calligraphy is less than the quality of calligraphy. Qigong's calligraphy is connected by "doing", and the axis of the characters is straight and continuous, which is similar to the operator. His composition also has a fatal weakness, which is difficult for ordinary people to perceive. Wang Xizhi said, "If it is straight and similar, it looks like an operator, the top and bottom are whole, and the front and back are flush, it is not a book, but it is worth mentioning." Because he is writing, rather than treating calligraphy art as an expression of free spiritual feelings. Chen Zhenlian pointed out that "real calligraphy" is an art that absolutely emphasizes the subject spirit, including the author's lyricism and expression, and incorporating individual aesthetic ideas into the form. Its basic point is aesthetics rather than practicality; Its form of expression is the establishment of a concise and abstract form containing rich contents such as emotion, meaning, environment and interest, rather than a practical and instrumental pattern of general beauty such as neatness, uniformity and uniformity. " From this point of view, Qigong calligraphy is more practical than artistic.