宋代雕版印刷崛起，知識傳播便捷，加上寫本藏本之流通，圖書信息之豐富多元，形成印本文化，促使經典復興，史學繁榮，宋學創發，文學新變，蔚為知識革命。宋人深信讀書博學有助於下筆有神，於是博觀約取、能入能出，奉為閱讀與作詩之圭臬。宋詩「破體」、「出位」之現象，著眼於「異場域碰撞」；創造性之合併重組，引發「梅迪奇效應」，對於宋詩特色之生成，自有推波助瀾之作用。唐詩之輝煌燦爛，名家輩出，提供宋人典範追求、及詩材儲蓄之便利。於是宋人致力編選刊刻唐詩總集選集，作為學唐變唐之觸媒，或標榜盛唐李杜、或推崇意新語工，或凸顯詩畫相資，或宗法中晚唐詩，或追求盛唐詩美，或兼採唐宋，同時宋人亦整理雕版唐詩別集，從閱讀、接受、飽參，進而宗法、新變、自得，將傳承優長與開拓本色畢成功於一役。日本內藤湖南所倡「唐宋變革」說，錢鍾書所倡「詩分唐宋」說，乃至於傅樂成、陳寅恪所謂宋型文化、文化造極云云，就知識傳播而言，多可從宋代之印刷傳媒、圖書流通視角切入，作為詮釋解讀之一大面向。

The rise of the xylograph accelerated the spread of knowledge in the Song Dynasty. In addition, the circulation of codices and the abundant pluralism of the information of the books, the printed-book reading movement was thus formed. To impel classical renaissance, the flourishing of historiography, and a new era in Song literature, it is the intellectual revolution. During this period, people believed that the profundity of one's knowledge gained through extensive reading helped one to write creatively and to capture the essence of literary works. In short, “Po-Ti” (genre-hybrid technique) and “Chu-Wei” (interdisciplinary technique) became the two major features of reading and composing Song poems, emphasizing on “Breakthrough Insights at the Intersection of Idea, Concept and Cultures” which resulted in the so-called “The Medici Effect” in the West. The magnificent poetry heritage of the Tang Dynasty's left the Song Dynasty a plethora of brilliant paradigms. Hence, the Song Dynasty makes an effort compiling Tang poems into selections or anthologies. In so doing, it also catalyzed the Song Dynasty's “altering-while-mimicking Tang poetry” spirit and caused the fast tranformation of Tang poetry. This spirit praises poets Li-Po and Du-Hu in the High-Tang Dynasty, promoting a new poetry style which focused on the equality of both poetry and painting, while imitating the mid-and-late-Tang poetic form, or combining both Tang and Song poetic genres. In addition, the Song also published Tang poetry in energaved printing form. Actually, the Song Dynasty, from reading, recognizing, comprehending, and further imitating and changing Tang poems, successfully inherited the grace of writing from the previous generation and fused it with its own zeitgeist. It is, therefore, appropriate to say that Quia Zhong-shu's proposal of “Tang and Song poetic demarcation,” or Naitoo Konan's “Tang and Song revolution theory,” even Fu Yue-cheng and Cheng Yin-ke's “Song-style culture” can be interpreted from the perspectives of printing technique and book circulation.