元代的私人收藏风气较之两宋更为兴盛,社会上参与书画市场的群体面更广。除了大长公主、柯九思、鲜于枢、赵孟等贵族和重臣身份的藏家外,在江南地区还涌现出了众多的普通平民藏家,留下了如周密的《志雅堂杂钞》、汤允漠的《云烟过眼录续集》之类记录所见书画古玩等藏品的书籍著作。同时,元朝继承了南宋与金内府的大量藏品,宫廷书画异常充足。再经过数代帝王的扩充,到元后期的文宗天历、宁宗至顺年间,内府藏品可说是元一代最盛。文宗图帖睦尔为元代最重视文艺的统治者之一,史载他能亲自动手 The genre of personal collection in the Yuan Dynasty was more prosperous than that of the two Song dynasties, and the community was more involved in the calligraphy and painting market. In addition to the Tibetans such as Princess Da-Chang, Ke Si Si, Xian Yu Shu, Zhao Meng and other nobility and heavy ministers, numerous ordinary civilian collectors also emerged in the southern part of the country, leaving the well-known “Chiya-chan” Tang Yunmo’s “cloud over the eyes of sequels,” such as records seen in the collection of antique books and other books. At the same time, the Yuan Dynasty inherited a large number of collections of the Southern Song Dynasty and Jin Nei House, and the court paintings were exceptionally adequate. After several generations of emperor’s expansion, to the late Yuan Wenzong calendar, Ningzong to Shun, the Nepalese government collections can be said to be the most prosperous Yuan Dynasty. Wenzhong Tuzet Mu Seoul is one of the rulers who value the arts most in the Yuan Dynasty.