On the early stage of Emperor Qianlong period, Qianlong ordered the
ministers to sort out interior cultural relics. Therefore ministers successively
compiled four antiques catalogue, they are "Midian Zhulin
Buddhism and Taoism paintings appreciation", "Shiqu Baoji paintings appreciation",
"Ancient bronze vessels collection appreciation in Qing Dynasty"
and "Tianlu Linlang official books collection catalogue appreciation"
respectively. The stylistic rules and layout of the first two was borrowed
from Gao Shiqi "Jiang Cun Xiao Xia Lu". The stylistic rules and layout of
the record of "Ancient bronze vessels collection appreciation in Qing
Dynasty" was borrowed from Wang Fu "Bo Gu Picture" and Lv Dalin
"The Archaeological Picture". To a great extent, the stylistic rules and layout
of "Tianlu Linlang official books collection catalogue appreciation" was
inherited from the connoisseur ideology of "Shiqu Baoji paintings appreciation"
and "Ancient bronze vessels collection appreciation in Qing Dynasty",
which was the evolutionary adaptation of style reference and actual situation
of books identification and collection. As the classic examples of official
connoisseur catalogue, "Tianlu Linlang official books collection catalogue
appreciation" had a significant impact on Qing dynasty bibliography.
As the development of textology in Qing Dynasty, the connoisseur gradually
flourished in society. Under its inspiration and influence, the edition
bibliography of Qing dynasty continued to develop.

乾隆前期, 弘历敕令整理内府文物, 廷臣先后编纂了《秘殿珠林》、《石渠 宝笈》、《西清古鉴》和《天禄琳琅书目》四部鉴藏目录。《秘殿珠林》、《石渠宝 笈》的体例借鉴了高士奇《江村销夏录》, 《西清古鉴》体例渊源于王黼《博古 图》、吕大临《考古图》。《天禄琳琅书目》的体例则是很大程度上承袭了《秘 殿珠林》、《石渠宝笈》、《西清古鉴》的鉴藏思路, 对其体例加以吸收并结合 书籍鉴藏实际情况加以变通的结果。《天禄琳琅书目》作为官办鉴藏目录的 典范, 对清代的版本目录学有重大影响。随着考据学的发展, 鉴藏之风的 日益兴盛, 清代的版本目录在其启发和影响下继续发展。

I. 引言
 II. 三种鉴藏目录的编纂及体例
  1. 三书的编纂时间、 纂者与内容
  2. 三书的鉴藏性质
  3. 三书的鉴藏体例
 III. 《天禄琳琅书目》 的编纂及其体例渊源
  1. 《天禄琳琅书目》 的编纂
  2. 《天禄琳琅书目》 的性质与体例
  3. 《天禄琳琅书目》 体例的渊源
 IV. 《天禄琳琅书目》与清代版本学的兴盛
  1. 鉴藏目录著录的规范化
  2. 《天禄琳琅书目》 的影响
 V. 结论

• 杨洪升(南开大学) | Yang Hongsheng