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明代画家人数比前朝有较大的增加,艺事亦盛;然而明人学风荒疏,内府库藏书画文物的管理制度也不甚严格,连内府收藏也无系统的著录文献可查考,后世因此难以确知其全貌。根据《本朝内监所藏画目》等资料,可推知明内廷的收藏尚有一定规模。清朝立国之初的几位皇帝都喜好书画及古玩,经过大力搜求,不少前代流散于私人藏家手中的书画名迹逐渐荟萃清宫,内府各类藏品到乾嘉时已至为可观。清朝廷动用了庞大的人力物力对内府庋藏之书画艺术珍品及古代书画典籍进行系统的整理和编纂,《石渠宝笈》、《秘殿珠林》等史籍见证了当时宫廷艺术品收藏的盛况。
The number of painters in the Ming Dynasty increased greatly compared with that of the previous dynasty. However, the management of the Ming dynasty was also absent. However, the administrative system of calligraphy and painting of the Ming dynasty was not very strict. It is difficult to know the full picture. According to the “inside and outside the prison collection of paintings” and other information, it can be deduced that there is still a certain scale Mingning Ting collection. After the Qing dynasty established the emperors, many emperors preferred painting and calligraphy and antiques, and after vigorous search, many famous paintings of calligraphy and painting scattered in the hands of private collectors gradually came into existence. The imperial court made use of huge manpower and material resources to systematically organize and compose the calligraphy and painting treasures and the ancient calligraphy and painting collections within the palace. The historical records of “Shiquandao” and “Guantiaolu” witnessed the grand collection of the court artwork .