唐代詩人王維長期以來被認為是以《輞川集》諸絕為代表的山水詩人，其「中歲頗好道，晚家南山陲」（卷三〈終南別業〉）、「晚知清淨理，日與人群疏……一悟寂為樂，此生閒有餘」（卷三〈飯覆釜山僧〉）的淡泊名利、篤志學佛的印象，又被後世冠以「詩佛」尊號，但，王維畢竟是大唐盛世裡詩歌與音樂、繪畫、書法等藝術涵養兼備的全才型人物，唐宋時代語境裡讀者對於王維的接受，也是多方面的，並不僅限於山水田園或妙諦微言等類詩作。本文從接受美學理論之角度切入，從唐人談論王維廣為人知的才能之一：「音樂」，觀察唐人對王維接受之效果與變化；至宋，則探討王維〈送元二使安西〉一詩於宋代流行的接受程度及傳唱演變，並補充宋人詩話資料中對此詩之評論，以觀察宋人對此詩之接受。

Wang, Wei -a poet of the Tang Dynasty, has long been regarded as a landscape poet represented by the《Wǎng-chuān Collection》. He was a devout Buddhist and called ＂The Buddha Poetry＂, however, Wang, Wei is a versatile character with poetry、music、painting、calligraphy and other artistic connotations in the Tang Dynasty. Readers accepted Wang, Wei in many ways In Tang and Song Dynasties, and it was not limited in pastoral landscape poetry or wonderful poetry such as Buddhist philosophy poetry. This article tries to learn from the perspective of accepting aesthetic theory, from the Tang Dynasty to talk about one of Wang Weiguang's well-known talents: ＂Music＂, to observe the effect and change of Tang people's acceptance of Wang, Wei; In Song Dynastry, I'll discuss Wang, Wei's ＂Send Yuan go to Anxi＂，the popularity of the Song Dynasty and the evolution of the sings, and supplemented the comments on the poems in the Song poetry materials to observe the acceptance of the poetry by the Song people.