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历代书画典籍的撰著,或者说,书画典籍的产生,从六朝至清末,大致上经历了三种层面的变迁。第一,作者由搢绅向士庶转变;第二,撰述内容,多由目睹向耳食转变,第三,撰写体式,由著述向汇辑转变。这三个方面其实也是可以一体的,以画史著述为例,较早的三本名著《历代名画记》、《图画见闻志》、《画继》,其作者张彦远、郭若虚和邓椿,分别出身官宦世家,富收藏,热衷品鉴,又能饫览文献,故其所著,历来为人宝重。宋以后,书画史著作日益增多,而撰著者未必皆富收藏,又未必能就藏家纵观,而收藏家并不从事史传撰述而热心于著录,故书画史著作多就前人著作辗转辑录,著作之外的
Ancient books of calligraphy and painting, or that the production of calligraphy and painting books, from the Six Dynasties to the late Qing Dynasty, generally experienced three levels of change. First, the author changes from gentry to priesthood; secondly, his content is mostly witnessed by the transformation from ear to ear; thirdly, the style of writing changes from writing to refereeing. In fact, these three aspects can be integrated. Taking the history of painting history as an example, the earlier three masterpieces: Famous Paintings of Various Dynasties, Famous Paintings of Paintings, Painting Follows, Zhang Yanyuan, Guo Ruoxu and Deng Chun , Respectively, derived from the official family, rich collection, keen tasting, but also browse the literature, so the book has always been treasure. After the Song Dynasty, the history of calligraphy and painting is growing, and the author may not have all the rich collection, may not be able to take a panoramic view of collectors, and collectors are not engaged in Shi Chuanzhi wrote and enthusiastic in recording, so history of painting and calligraphy and more on the predecessors work removed Editing, writing outside