Before the Qing Dynasty, Taoyuan was used to the territory of indigenous people. It was not until the ruiling of emperor Qianlong, a large crowd of the Han cultivated and reclaimed Taoyuan area. During Japanese colonial period, the establish of local poets society, and the frequent interactions of calligraphy-related activities, which advanced a prosperous page for the calligraphy development in Taoyuan. After Second Sino-Japanese War, calligraphy painting associations and local calligraphy societies brought more interactive opportunities owing to neighboring captial city and the increase of the residential populations. The government planned to set up Hengshan Calligraphy Art Center, which was the first official-built calligrahpy art center within Taoyuan HSR District in Taiwan in 2015, and drew much attention among calligraphy industries nationalwide. From a deserted land turned into an area with prosperous calligraphy painting associations, how did Taoyuan’s calligraphy make its progress, which so far has little related research.

This dissertation mainly focuses on calligraphers in Taoyuan during the Qing Dynasty. From local history, literature reivew, newspapers, periodicals, tablets, plaques, and so on, the researcher collects their works and other interactive activities. The researcher practices methodology of field study, literature, and data analysis to organize the related resources from the Qing Dynasty to comprehensively construct the developing calligraphy history of Taoyuan during the Qing Dynasty.