In 1994, Dr. Tu Chung-Kao organized the “Chen Zhenlian Calligraphy, Chinese Painting, Seal Carving and Writing Exhibition”, an exhibition divided into four aspects that showcase and artist and writer’s achievements in calligraphy, Chinese painting, seal carving, and authorship and which exerted a certain degree of impact on Taiwan’s calligraphy scene. However, to assess the impact of the exhibition on academic research, a basis must be found as critiques cannot be formed on subjective judgment but rather must rely on objective indicators. The author has therefore collected quantitative data on the number of citations in the theses and dissertations of Taiwan that reference Chen Zhenlian’s writing, and utilized statistics to assess and critique the exhibition as well as its degree of impact on the theses and dissertations of Taiwan. From Chen Zhenlian’s works and academic writing it is evident that “form” is an important aspect of calligraphy as an art form within exhibition culture. This article therefore seeks to assess the impact of “form” on the artworks submitted to the calligraphy awards and competitions of Taiwan. Towards the conclusion, the author will also attempt to expound upon the exhibition’s role and status within Taiwan’s calligraphy scene.