巴蜀文化是構成漢三國魏晉南北朝總體歷史文化風貌極為特出且格外重要的一個部分。但是因為客觀歷史大勢的決定，三分歸晉以後，北方人士挾著政治軍事的勝利，對於南方文化產生居高臨下的傲慢姿態，使巴蜀文化的保存險象環生，幾乎泯沒於政治大一統格局下所形成的北方獨霸之狹隘文化觀中。而今我們尚能一窺中古以前巴蜀文化的精華，幸賴當時的三部作品以各自不同的方式和書寫理念將其保存下來，分別是左思《三都賦》、陳壽《三國志》與常璩《華陽國志》。左思在站在西晉大一統的浪漫執迷之中，狂熱而傲慢的寫下《三都賦》，但卻意外地保存了巴蜀文化的精華；陳壽撰寫《三國志》則是夾在南北政治的矛盾之中，殫精竭慮地平衡三國的視野，小心翼翼地將巴蜀文化延續下來；常璩雖不滿中原、江左人士對於蜀文化的輕視，但卻能在懷鄉愛土的炙熱情緒下，保持冷靜地看待外來文化給予巴蜀文化的正面刺激，最終完成巴蜀文化史確立的三部曲。

Ba-Shu culture is momentous proportion constituting the integral history and culture of Han, Three sovereign nations, and Wei-Jin periods. Nevertheless, owing to the general trend of history, after Three sovereign nations intermingled by Jin dynasty, Northern people take haughty demeanor to southern culture by bureaucratic and militant triumph, let the conservation of Ba-Shu culture in dangers lurking on all sides, virtually vanish the biased cultural vision of Northern monopolization in unwarlike situation. Nowadays, we could ascertain quintessence of Ba-Shu culture before middle-ancient Age building upon three works by their contrastive manner and Writing pinnacle: Zuo si "San-Du-Fu", Chen Shou "History of the Three Sovereign Nations", and Chang Qu "History of Hua-Yang Monarchy". Zuo si is in poetic inflexibility of harmonious condition of western-Jin, feverishly and fatuously composing "San-Du-Fu", unintentionally preserving essence of Ba-Shu culture. Chen Shou's "History of the Three Sovereign Nations" is in the contradiction of northern and southern politics, prudently handling tactics of technique foul to equate field of vision of three sovereign nations, gingerly sustaining Ba-Shu culture. Chen Shou, even though dissatisfy the people of Zhong-Yuan and southern districts with their disdain of Ba-Shu culture, is in the sentiments of warmth of home-town, calmly perceiving positive impetus to Ba-Shu culture from external culture, ultimately fulfilling the triad of Ba-Shu culture.