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Master Hong Yi was a modern eminent monk. The theory of his calligraphy explained by the Buddhist point of view focuses on a poem that is:" the appearance of characters is nowhere to get, especially with the human heart which is always trying to distinguish the good and the bad. Such as drawing in the wind, nothing could be left. Only knowing everything in this way would get the point of the nature instead of the appearance. " This concept is an important complement for the theoretical system of Chinese calligraphy that provides a unique perspective to recognize the Chinese calligraphy. This research is based on his thought and practice of Calligraphy combined with life experience, wish, and his behavior, in which we try to explore the connotation of Chinese calligraphy thought, inner logic in the practice of calligraphy, and the value contributing to the thought and practice of Chinese calligraphy. Firstly, the article describes the impacts originated from the four changes in his life. Secondly, we try to explore the connotation of thought in Chinese calligraphy by the mutual reflection of Buddha dharma and calligraphy, which are based on the perspectives of " Xing Kong Yuan Qi", "Zhen Kong Miao You ", "Ti, Xiang、Yong", and "Xiu Xing Gong Fu". Thirdly, with the reflection of his calligraphy thought, it analyzes and summarizes the four stages of his calligraphy practice, including "Jianliqiyong", "Zhixiangzhiyong", " Shexiangzhiyong ", and " Liaoxiangjingyong ". And it also summarizes the characteristics of his calligraphy practice on this basis. Master Hong Yi was qualified with Confucianism and Buddhism, western and eastern, culture and art, transcendental and mundane whose thought and practice of calligraphy has its own unique personality. In particular, it impacts his thought and practice of Chinese calligraphy as a result of that he had to hold a clear and normative way of thinking required by the principle of Luzong, which has obvious differences as opposed to our general understanding and practice on Chinese calligraphy. Nonetheless, his thought and practice of calligraphy was featured by a high universality as he concerned on art and culture. Especially in his transcendental perspective and self-recognition, it has undoubtedly reference value on contemporary calligraphy. There could be common goals including the cognition and experience of " Jixiang and Lixiang ", the innovation in the process of inheritance, " Tao follows nature " and the formation of an independent style pursued by calligraphers in all subsequent ages. It is the beneficial supplement for the construction of the ideological system of contemporary calligraphy observed from the arguments of Master Hong Yi’s calligraphy thought and practice. Meanwhile, not only does the integrity of critical system in theory and practice of Chinese calligraphy, but also with the guidance of Master Hong Yi’s calligraphy thought could help us to experience Chinese calligraphy beyond the aspect of Tao. And it could also help us to create the high-quality masterpieces so as to make a contribution to the revival of Chinese culture and the fulfillment of "China Dream".