《书画题跋记》和《珊瑚网》于明崇祯年间先后编撰于浙江嘉兴。二书皆为题跋集录体书画目录。《珊瑚网》及其编者汪砢玉声名更著,屡为历代治书画鉴赏者所引用。但比对二书内容,可以发现它们收录的书画题跋多所重复,《珊瑚网》实从《书画题跋记》中袭录了大量文字,并试图通过改变语序、修改相关署款等方式来掩盖这个事实。《书画题跋记》写钞流传的局限性为《珊瑚网》的抄袭提供了空间,汪砢玉在家藏渊源、艺术交游和影响力方面的优势则进一步造成了二书在后世品鉴中的高下不同。郁逢庆的遭遇在当时从事书画公共编目的士人中具有一定的普遍性,反映了这一撰述主体阶层的下移,他们的生存和著述困境,以及由此带来的学术求诚实的难题。
Prefaces and Postscripts of Paintings and Calligraphies and Coral Net were compiled successively in Jiaxing County, Zhejing Province during the reign of Emperor Chongzhen in the Ming Dynasty. These two books are both catalogs of paintings and calligraphies in the style of collecting prefaces and postscripts. Coral Net and its compiler WANG Luo-yu are more famous, which are frequently quoted by appreciators of paintings and calligraphies in past dynasties. By comparing these two books, however, one can find that many prefaces and postscripts are respectively recorded in them. Coral Net copies a lot of sentences and ideas from Prefaces and Postscripts. Technical methods such as changing word order and revising relative signature in order to conceal the fact of plagiarism. The limited spread of Prefaces and Postscripts leaves space for Coral Net to plagiarize. WANG Luo-yu’s advantages in his family reputation, his wide circle of acquaintances and his influence result in a higher position of his book in later generations. The fate of YU Feng-qing, as well as his lower status, his difficult situation in life and work, was common among public cataloguers of paintings and calligraphies. This also reflects the big problem of seeking academic sincerity.