特殊的歷史語境與族裔經驗，演繹出不同的文化想像，乙未割臺對臺灣傳統知識分子的衝擊，就是族裔經驗撼動文化想像典範，以致造成複雜的認同糾葛；王則修生平跨越清領、日治、國民政府三個階段，文本《則修先生詩文集》透顯的訊息，堪稱具有類型意義。如同當時臺灣傳統知識分子，隨著殖民政權的入侵身分改變，由漢族移民主宰者，轉而成為次等殖民，引發認同焦慮；不但受到現實生存安全考量的影響，導致中國／祖國政治認同意涵的鬆動，心靈上烙著民族挫敗的傷痕，驚覺到落入中國傳統／現代性雙重邊緣化的氛圍，也動搖了他中國文化的典範意識。殖民地經驗，吸納了日式西方文明，激發出臺灣住民思維，遂令中國文化意識融入了豐富的日本文化思維，展現臺灣鄒魯圖像越界與回歸的景觀。在此一整體文化建構景觀中，所謂的中國想像，則由經世濟民瀰天蓋地的道德術略典範，革新實用技術的層次，轉而成為一種形而上的精神鏡像，並藉以統攝西方物質文明之述。因而此一精神鏡像被視為一切臺灣文化創意的源泉活水，更重要的是－－這種臺灣漢族的中國想像成為被殖民者心靈的桃花源，是重振民族自信的契機，這也是王則修與當時一些臺灣文化協會人士，響應殖民政權提倡同化政策的深層意涵。綜觀他的文化敘事，始終離不開中國想像，身分不同族裔經驗改變想像的內涵遂異，這種辯證性的回歸，再是迂迴、糾纏終究是文化的創新，也是自我身分認同的探索與安頓之道。

Special historical context and ethnic experiences can derive different cultural imaginations. In 1895 Japan took over Taiwan, the shock this event gave to traditional Taiwanese intellectuals, set a model example of how ethnic experiences shook and altered cultural imagination, and caused tangled identity complex. Wang Ze-Xiu lived his life through three time periods: The chin Dynasty Domination, The Japanese Rule, and the KMT Government. The messages revealed from his work Sir Ze-Xiu's Collection: Poetry and Prose are of type significance. For the traditional Taiwanese intellectuals at that time, the invasion of the colonial government had turned them from the hierarchy of Chinese immigrants into secondary civilians of the Japanese empire, thus triggered their identity anxiety. Like his contemporaries, Wang is not only affected by realistic survival and safety concerns which caused the political sympathies toward China/Motherland to sway, but the burning trauma of the nation's defeat, and the stunning awareness that he had fell into the atmosphere of the marginalization of both China's tradition/modernity, had also shook his ideology of Chinese culture. The colonial experience had enabled Wang to absorb Japanese-sytled western culture, and stimulated him to think as a Taiwanese civilian, thus plenty of Japanese cultural thoughts blend into Chinese cultural consciousness, and brought out his ideas about the border-crossing and return of Taiwan's traditional Chinese culture. In the landscape of the whole cultural structure, the so-called China Imagination is then combined with the ethic models of daily life, and sublimated into a metaphysical mental mirror image, which is applied to administer the knowledge brought by western materialistic civilization. This mental mirror image is considered to be the source fountain of all Taiwanese cultural creativities, more importantly--this China Imagination by the Taiwanese-Chinese had became the Shangri-La in the hearts of the colonized and the critical point from which the rebuilding of the nation's confidence could begin. This is also the deeper meaning in why Wang-Ze-Xiu, along with some other contemporary people of Taiwan Cultural Association, had answered to the Japanese government's proposal of the harmonizing policy. To summarize, his cultural narrative never broke from China Imagination, and the ethnic experience had changed his cultural imagination. The dialectical return, although detouring and twined, was after all an innovation of culture, and a way to search and settle self-identity.