在中国书法史上，褚遂良是一个绕不开的人物，他被列为“初唐四家” 之一，清人刘熙载评曰：“褚河南书为唐之广大教化主。”以往对褚遂良书法的研究多从书家、书论或书作出发，近年来开始出现从接受视角进行的研究，但在接受理论的应用以及文献使用与分析等方面仍有较大的探索空间。为了对现有的褚遂良书法接受研究进行补充，本文运用接受理论的方法，通过分析古代书论、碑帖及其他著述，探析了褚遂良书法在宋代的传播和接受情况，研究发现如下： 

第一，宋代所存褚遂良书迹有碑刻、刻帖、墨迹三种类型。碑刻以《雁塔圣教序》最为经典、影响最深；刻帖传播范围最广，其中《家姪帖》不仅是书法学习的范本，其内容还成为经典文本，常为宋代诗文所引用。

第二，褚遂良的书家形象经过唐代的铺垫，在宋代“以人论书”的观念下正式被确立为“忠臣义士”并固定下来。

第三，宋代金石之风兴起，褚遂良楷书痩硬、有力的点画特色被宋人看见，认为它与隶书相通，褚书中的隶意由此被发掘。

第四，尚清审美古来已久，发展到宋代开始转向人的内在精神，宋人以“清”评褚书，是将褚氏的人格魅力糅合进他的笔墨精神之中了。

第五，从宋人对“初唐四家”、颜真卿为代表的唐代书家群体的态度变化，可以发现宋人的书学观念大致经历了由“守二王之法”到“变法出新”再到“书宗魏晋”的发展过程。

第六，米芾的实践和理论深入发掘了褚遂良书法在实践层面的价值——沟通晋唐之津梁。

第七，在宋代，褚遂良书风虽沦为平常，但褚氏的书史地位得到了强化，其中苏轼和米芾是两位关键接受者。

本文是将接受理论应用于书法研究的一次尝试，以期为褚遂良书法相关议题提供新的视角，丰富褚遂良书学之研究，对今天的书法实践产生一定启发。

In the history of Chinese calligraphy, Chu Suiliang is an inextricable figure, he was listed as one of the "four masters of the early Tang Dynasty", Liu Xizai of the Qing Dynasty commented: "Chu's calligraphy is the broad enlightenment lord of the Tang Dynasty." In the past, studies on Chu Suiliang's calligraphy mostly started from the perspective of calligraphers, book theories or works. In recent years, studies have begun to appear from the perspective of acceptance, but there is still a lot of room for improvement in the application of acceptance theory and the use and analysis of literature. In order to supplement the existing research on the acceptance of Chu Suiliang's calligraphy, this paper uses the method of reception theory to analyze the spread and reception of Chu Suiliang's calligraphy through the analysis of ancient writings, steles and other writings in the Song Dynasty. The research findings are as follows:

Firstly, there are three types of Chu Suiliang's calligraphy in Song Dynasty, including stele, inscription and ink, among which: "Yanta Preface of Holy Doctrine " is the most classic and most influential; Chu Suiliang's "Jia Zhi Tie" is not only a model of calligraphy learning, its content has become a classic text, often quoted by the Song Dynasty poetry.

Secondly, Chu Suiliang's calligraphic image was established and fixed in the Song Dynasty under the concept of "discussing calligraphy based on character".

Thirdly, under the background of the rise of metallography, the thin and forceful brushwork features of Chu Suiliang's regular script were noticed by the Song people, who thought it was in common with clerical script.

Fourthly, after a long development, "Qing" aesthetic began to turn to the inner spirit of people in Song Dynasty, and Song people evaluating Chu Suiliang's calligraphy with "Qing" is integrating noble character into artistic creation

Fifthly, from the change of attitude of the Song people towards the "four masters in the early Tang Dynasty" and Yan Zhenqing as the representative of the Tang Dynasty calligrapher group, it can be found that the Song people's concept of calligraphy has roughly experienced the development process from "keeping the rule of Wang Xizhi and Wang Xianzhi" to "reforming the rule" and then to " advocating calligraphy in Wei and Jin dynasties".

Sixthly, Mi Fu's practice and theory rediscovered the value of Chu Suiliang's calligraphy - the bridge between Jin and Tang dynasties.

Seventhly, in the Song Dynasty, although Chu Suiliang's style of calligraphy became common, Chu's position in the history of calligraphy was strengthened, among which Su Shi and Mi Fu were the two key figures.

This paper is a beneficial attempt to apply the acceptance theory to the study of calligraphy, which provides a new perspective for Chu Suiliang's calligraphy related issues, enriches the study of Chu Suiliang's calligraphy, and also has some inspiration for today's calligraphy practice.