On the issue of the relationship between truth, goodness and beauty, Deng Yizhi expressed his views in "Drama and the Evolution of Morality". He believes that among primitive peoples, when people's "sensory feelings have not lost their intuitive power", goodness and beauty are the same. Later, rational human beings "based on interests and harms" emerged. With the distinction between good and evil, there was also the distinction between truth, goodness and beauty. But all three of them are based on the same social life and are closely related. Deng Yizhe studied calligraphy quite a lot and had a pioneering status. He proposed in "Appreciation of Calligraphy" that Chinese calligraphy is not only a kind of fine art, "but also a pure fine art and the highest state of art." Because Chinese characters have completely broken away from the constraints of practicality and become a free expression of "spirit". Like Zong Baihua, in Deng Yizhe's art criticism, "artistic conception" is the highest category. He focused on how artistic conception is expressed from the aspect of calligraphy. He believed that the composition of this artistic conception has two factors: "form" and "meaning". Form and artistic conception are inseparable: "A calligraphy cannot become a word if it is invisible, and it cannot become a word if it is not intended." Calligraphy." The formal components of the artistic conception of calligraphy are mainly three parts: "strokes", "structure" and "composition". He believes that the development and evolution of Chinese calligraphy has gone through the process of ancient script, large seal script, small seal script, official script, Zhangcao, running script and cursive script. It is the development from the beauty of form to the beauty of artistic conception. Therefore, "cursive script is the end of the evolution of calligraphy." " Deng Yizhe's painting theory is concentrated in two articles: "Exploration of Painting Theory" and "Six Methods General Interpretation". In these two articles, he created "body-shape-meaning" and "vividness-spirit-qiyun". structural model to describe the diachronic development process of Chinese painting. At the same time, he believes that the highest end of this development process is "qiyun", that is, "beauty of artistic conception".