First, calligraphy is dead. The stippling method of "Heaven" is very simple, and the brushwork used is a self-created method, which is not the "ancient method of Jin and Tang Dynasties" that has been implemented for thousands of years in traditional book theory. It is easy to write calligraphy into a "dead end" by learning his own brushwork, which leads to a situation in which thousands of people have one side.
Those who learn from the "two kings" and those who learn from Ou Yangxun eventually form thousands of faces, which is the result of rich brushwork and changeable techniques.
Second, learning from "Heaven" is discriminated against. If your calligraphy is the face of Jin and Tang Dynasties, then you think highly of it. If your calligraphy is full of the breath of "heaven", then it is at the low end of the calligraphy contempt chain.
Third, learning "Tiankai" is a retrogression in the development of China's calligraphy. Because it is easy to learn, it has become a "popular variety", but the highest peak of China's calligraphy is Jin and Tang Dynasties. If "Tian Kai" becomes the mainstream of calligraphy, it is bound to be a retrogression of traditional art aesthetics.
Many people say that learning "Tiankai" is a last resort, and they learn from Ou Yangxun's regular script, because the version is too corrosive, the words are unclear, and it is not an ink version, so they choose "Tiankai". A few years ago, an epitaph of Ou Yangxun was unearthed in Xi, Shaanxi. This epitaph is clear and elegant, and it is extremely rich in the richness of pen and font changes. It is the most suitable model for friends who study European style to copy. This epitaph is the famous "Queen's Day Tomb".