弘一法师形成“弘一体”经历了多个阶段。前期书法立追北碑金石，后期风格大变，容浑肃穆。自乾嘉碑学中兴以来，写魏碑的人很多，但能跳出魏碑樊篱的屈指可数。这与其扎实的魏碑功底密不可分，也与其所受佛家思想有重大关系。 弘一法师在出家之前，曾下过苦功学习六朝碑版，皆过眼即可神似.而且当时正值魏碑风潮，加之弘一法师天生聪颖好学，亦从时人学得许多东西。出家之后，弘一法师克己持戒，苦钻佛法，其书法在佛家思想的影响下几经变化，直至最后“无复六朝习气”。在弘一法师出家的初期，依然有着浓重的魏碑意趣，直到印光法师提醒他“写经不同写字”，弘一法师方才醍醐灌顶，终以弘法作为书写之唯一要义。而其钟爱的魏碑，则渐渐隐于毫端，于骨内，于法中，不复见矣。

Master hong yi, form nhong yi" has experienced several stages. Early calligraphy set back to north tablet stone and later style changed, muddy solemn and respectful. Stone inscription rubbings from scholars since zte, many people can write wei rubbings, but it can jump out of the wei rubbings barriers are numbered. With solid skills of wei rubbings are inseparable, rather than by the buddhist thought has significant relationship. Before becoming a monk, master hong yi, who under hard learning the six dynasties BeiBan, passing can spirit likeness. And during the wei rubbings agitation, combined with the master hong yi, naturally smart studious, also from the human have to many things. After becoming a monk, master hong yi, self-denial is quit, bitter drill the dhamma, the calligraphy several changes under the influence of buddhist thought, until the last "after the six dynasties of behaviour". At the beginning of the master hong yi, monks, still have a strong interest and wei rubbings and until the printing light mage reminded him that ’’different calligraphers to write," master hong yi, not quite, the only essence of buddhist as writing. And its favorite wei rubbings, fade in hair end, in the bone, Yu Fazhong, no longer see him.