| Summary: | 博士 === 國立成功大學 === 中國文學系碩博士班 === 97 === Based on the theory of reception-response, this thesis focuses on the Medieval Chinese calligraphers’ adoption of Wang Xizhi’s works. To open a dialogue between the interpretations and the imitations of Wang’s style by the latter calligraphers within a historical context, this thesis also shed light on a new aspect of the studies of Wang, which is totally different from the traditional authentication of Wang’s works. The first chapter, introduction, contains motivation and terminology of this study, and the application of aesthetic reception in the study of Wang’s calligraphy. The second chapter is an analysis of the dissemination of Wang’s calligraphic imitations in terms of “viewers,” “imitative technologies” and “imitations.” The third chapter re-examines Wang’s Lan Ting Xu in terms of Six Dynasties’ discourse and how Wang’s calligraphy was canonized by the calligraphy critics, such as Yang Xin, Wang Sengqian and Ye He. The fourth chapter deals with how the Tang Dyansty’s calligraphers developed their own styles by imitating Wang’s. The fifth chapter analyzes the significance of Wang’s Chunhua Ge Tie in the theory of reception-response, and takes examples from the works of Ouyang Xiu, Su Shi, Huang Tingjian, Mi Fu and Zhao Gou. The sixth chapter, conclusion, summarizes research experiences and extended related issues.
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