東漢班固《漢書》據劉歆《七略》刪其要而成〈藝文志〉，以記載圖書典籍等文獻，其功用在於辨章學術，考鏡源流，為史書中最早之史志。在班固《漢書》以後，各朝代史書或著〈藝文志〉，或名〈經籍志〉，皆為載錄各朝各代圖書典籍之存佚，然而並非每一朝之史書皆有修撰〈藝文志〉。清代開館編修《明史》，由纂修《明史•藝文志》的討論，而興起了補史〈藝文志〉的學風。最初以補宋、遼、金、元四代藝文為主，而後由於錢大昭的補《後漢書•藝文志》的著作，由宋、遼、金、元四代上溯至東漢，而將整個補志學風擴展到補各朝代所缺之〈藝文志〉。而此補《後漢書•藝文志》來說，錢大昭之後有侯康、顧懷三、姚振宗、曾樸等相繼為補，其中以姚振宗《後漢藝文志》最為精審完善，故文中考察清代補史志學風的興起，並以姚振宗《後漢藝文志》為主，探討其書之分類與體制之特點。

The research foundation of I-wên chih (<藝文志>)in Pan-ku’s(班固) Han-shu was based on Ch'i-lűeh(《七略》) written by Liu-hisn(劉歆) that recorded ancient books in order to classify the knowledge and trace academic sources in ancient China. The function of I-wên chih in Han-shu was the valuable part. So that, almost every official historical records in different dynasties had this part or named as Ching-chi chih(<經籍志>) inside, while some did not have. Because of this reason, after dissussed how to edite Ming-shih i-wên chih (《明史‧藝文志》), the academic trend which encouraged to develop the supplement of I-wên chih was raised in Ch'ing dynasty. To put more concretely, the academic trend began with the supplement of I-wên chih just in Song, Liao, Chin, Yüen dynasty. Then dued to the supplement of Hou-Han i-wên chih (《後漢‧藝文志》)written by Ch'ien ta-chao(錢大昭), it became the compiling movement which enlarged the supplement of I-wên chih to the historical records in which lacked this part in the previous time. In Addition, turning now to the movement with supplements of Hou-Han i-wên chih. After Ch'ien ta-chao, there were still some Ch’ing scholars did the similar works which followed in turn by Hao k'ang(侯康), Ku huai-san(顧懷三), Yao chên-tsung(姚振宗), Tsu p'u(曾樸). In comparison with other works, the supplement which made by Yao chên-tsung was the best publication. Accordingly, the purpose of this study will focus on the two ways: one way is to observe the academic trend with the supplement of I-wên chih in Ch'ing dynasty; the other way will analyze the structure and classification in Yao chên-tsung's Hou-Han i-wên chih.