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.