This article examines the Tang calligraphic collection from a socio-political perspective. Issues of the monumentality of Wang Xizhi’s calligraphy, the materiality of calligraphic works in the Inner Storehouse, the vicissitudes and accessibility of the imperial calligraphic collection are addressed here. This study demonstrates that the political implication of the imperial calligraphic collection is not only seen in the patronage of specific calligraphic works that expounded political messages, but also in the details of the management and uses of the calligraphic collection. The Tang rulers made innovative uses of calligraphy to cultivate their public image and strengthen their bonds with officials who were simultaneously audience, advisors, competitors and members of the same community of interests with the rulers. During the Tang dynasty, imperial collecting of calligraphy and the collection were adopted as a sign of cultured rule, a common aesthetic pursuit among the cultural elites, and a platform for power exchange and social interaction between the Tang rulers and ministers.

本文从社会政治角度审视唐代书法收藏。王羲之书法的纪念性、内库书法作品的物质性、皇家书法收藏的变迁和可及性等问题都在这里得到解决。这项研究表明，皇家书法收藏的政治含义不仅体现在对阐述政治信息的特定书法作品的赞助上，还体现在书法收藏的管理和使用细节上。唐朝统治者创新地使用书法来塑造他们的公众形象，并加强他们与官员的联系，这些官员既是观众、顾问、竞争者，又是与统治者利益共同体的成员。唐朝时，