The Sinology circle in the Republic of Korea (ROK) has always been paying close attention to the study of Chinese classical literature, especially the study of the works of key writers. Wang Wei research shows distinct temporal characteristics at different times. With the establishment of diplomatic relations between the ROK and China in 1992 as the demarcation point of time, this article summarizes and analyzes the research in Wang Wei in the Korean academic community, consisting of two major periods. On the whole, after the official establishment of diplomatic relations between the ROK and China, the research in Wang Wei in the ROK truly got on the right track. Especially in the 21st century, the research in Wang Wei in the ROK showed signs of prosperity, and with the increasing exchange and cooperation with China and other countries in Sinology research, has become an important component of cross-cultural literary research. It involves extensive content and research perspectives, including the relationship between Wang Wei’s poetry and his paintings, the overall characteristics of Wang Wei’s poetry, the imagery of Wang Wei’s poetry, the relationship of Wang Wei and his poetry with Buddhism, comparative studies of Wang Wei’s poetry, and the reception and dissemination of Wang Wei by Korean poets. This article classifies and analyzes these research findings, sorts out the development process of the research in Wang Wei in the Sinology circle in the ROK, analyzes its current research status, and explore its future development focus and direction.

As a kind of ideology, poetry creation is restrained and influenced by the political thought, philosophy, philosophy, culture and other aspects of the society where the poet lived without exception. These influences are complex and involve multiple aspects. They not only affect the poet's world outlook and life attitude, but also affect his cultural psychology and emotional purport. More importantly, they affect the poet's creation, and the social mindset and aesthetic trend in a specific era. Wang Wei is a man with rich knowledge, twists and turns, and ups and downs in his life. He received orthodox Confucian culture and education since his childhood, and learned Buddhism and paid respect for Buddha when he was young, winning him the title of Poem Buddha. In the second half of his life, his poems gradually began to embody the ideological core of Taoism. Wang Wei was a Confucian, paid respect for Buddha but he was not a monk. He followed the Taoism but he was not a Taoist. By looking at his poems and analyzing them from different themes and creation times, it can be see that when the ideal that he focused on as a “social person” collided with the reality, he dispelled such collision with the “nature” and “original aspiration” of Buddhism and Taoism. From a certain point of view, Wang Wei represented the mainstream cultural spirit of China. He focused on the objects gradually from the outside to the inside, and then completes the process of “introversion transformation” from “social person” to “natural person” and then to self “original aspiration”. This process was also the process of the integration of Confucianism, Buddhism and Taoism and the formation of “introversion transformation” culture.

The spiritual world in Wang Wei’s poem has a significant impact not only to the artists of the time but also to the Chinese literati at later date. This infleunce was not limited to the ancient Chinese literati. It also infleunced Goryo dynasty’s scholars. Goryo literati influenced by his poem were Lim Yujung（林惟正）, Lee Gyubo（李奎报）, Lee Jehyun（李齐贤）, Jin Hwa（陈澕）, Lee Saek（李穡） and so on. Its influence to the Goryo Dynasty’s scholars was essentially founded on the Nature of perception，the style of 'The implication', Zen realm and 'Poem paintings' realm in Wang Wei’ poem.