形意之辨是邓以蛰艺术美学在研究思路和宏观架构上呈现的一大重要学术特点。这一特点既表现为“意境”阐释时形式(形质、形象)与“意境”关系的论析,又体现于书画艺术发展史上从“形”到“意”的发展趋势,更在诗画关系、南北宗辨析、中西方绘画对比中呈现出或“形”或“意”的偏重。在形意之辨的思路指引下,邓以蛰艺术美学研究往往从书画艺术的笔法分析切入,最终及于艺术效果,形成从技术到效果、从创作到鉴赏的完整理论体系。而构成这一研究视角和思路的思想资源一方面源于中国传统的形意理论,另一方面则来自西方有关内容与形式关系的美学思想,二者在邓以蛰的美学世界中互相交融、发明贯通,成就了具有现代特色的中国美学话语。 Ambiguity is a major academic characteristic of Deng Yizhe’s art aesthetics presented in the research mentality and macro framework. This feature is manifested in the analysis of the relationship between the form (form and image) and the “mood” in the interpretation of “artistic conception”, and also in the history of calligraphy and painting from the “form” to the “meaning” But also in the relationship between poetry and painting, the discrimination between North and South Zong, and the contrast between Chinese and Western painting showing the emphasis of “” or “meaning ”. Under the guidance of the idea of ​​metaphor, the research on Deng Aizhe’s artistic aesthetics often cuts from the brushwork analysis of calligraphy and painting art, finally to the artistic effect, forming the complete theoretical system from technology to effect and from creation to appreciation. On the one hand, the ideological resources which form the perspective and train of thought originated from the Chinese traditional metaphysical theory; on the other hand, they come from the western aesthetics thought about the relation between content and form, which blend with each other in the aesthetics world of Deng Yizhe, , With the modern characteristics of Chinese aesthetics discourse.