东汉时，地记著作和图经就都出现了，其后在相当长的时间内它们都按自己的路径向前发展。魏晋南北朝时期，适应地方经济的发展和地方豪族势力的愈加强盛，地记著作较为盛行。隋唐时期，随着国家统一和中央集权的加强，编修图经日渐盛行。至唐朝后期，地记、图经已出现了合流的趋势。

北宋时期，宋太祖、宋真宗、宋徽宗三朝都组织了大规模的全国性图经编修活动，一方面编修产生了很多图经成果，特别是《祥符州县图经》编成后颁下各州郡，为各州郡提供了国家规范性质的图经蓝本，有力推动了宋朝方志的发展；另一方面在编纂人员构成上，一改隋唐五代主要由胥吏编纂图经的局面，大量“文学之士”参与到图经编纂活动中，有力推动了图经从原先的官方文书、档案向专门著述方向转变，进而彻底改变了图经的性质。宋真宗朝、宋徽宗朝两次全国性图经编修活动，朝廷还在图经体制上进行了规范要求，明确颁行了统一的图经编写纲目，其中包括关于地方守令、名贤等人物的内容，为引导和带动宋朝方志向人文内容方向拓展发挥了重要作用。

到南宋孝宗朝，宋朝方志发展定型已经基本完成，具体表现在三个方面：一是方志以“志”为书名者远远超过以“图经”为书名者，一直以来以“图经”为书名者占据多数的情况彻底改变，使得宋朝方志发展定型在“名”“实”之间做到了名副其实，也形成了方志以“志”为书名占据主导地位的局面；二是传统的平列门目体体例取得了新的发展，在此基础上，受朱熹编写《资治通鉴纲目》的深刻影响，方志纲目体体例产生，在体例上出现了具有变革意义的重大创新；三是方志在记述内容方面得到了重大的拓展，即同时记载职官和职官题名、进士题名、人物传、艺文四项内容，使得方志逐渐从以记地理内容为主向以记地理、记人文内容并重的方向转变。其后，宋朝方志在编纂体例上继续发展，一方面，方志编纂者为弥补纲目体体例自身的不足，不断进行摸索，使得纲目体体例在表现形式上不断得到丰富、完善；另一方面，在纲目体体例的母体中，新的史志体体例孕育产生，至南宋末已经出现了较为成熟的史志体方志《景定建康志》。这样，平列门目体、纲目体、史志体这三种后世修志的主要方志编纂体例，一种在宋朝取得了新的重大发展，两种在南宋时期产生并不断发展完善，可以说宋朝方志在编纂体例上发生了革命性的变化，为宋朝方志发展定型提供了坚实的体例支撑，也为宋朝以后代代相续的方志编纂活动提供了扎实的体例基础。同时，宋朝方志在记述内容上，也紧紧围绕如何更好地记载职官和职官题名、进士题名、人物传、艺文四项内容，特别是紧扣人物传、艺文两项内容，在设置方式、门类占比、门目架构、记述深化、编排次序等方面不断进行探索，奠定了宋朝以后在这些方面不断发展的基础。

宋朝方志在发展定型过程中，日渐适应地方政府和知识阶层的多方面需求，呈现出旺盛的生命力，推动宋朝方志在编纂思想、编纂体例、编纂原则、编纂方法、编纂组织等方面不断丰富和完善，形成了一系列比较成熟、系统的方志编纂规范体系，影响非常深远。在编纂思想上，宋朝方志编纂者确立了“以时修志”的认识，即认为方志必须持续不断地进行续修，初步形成了地方长官为修志主体的修志官责说，并围绕方志起源、方志性质、方志功能等基本理论问题进行了较为充分的探讨，奠定了元明以后方志编纂者开展相关讨论的基础。在编纂体例上，最晚从北宋中期起平列门目体方志即开始引入经传注疏的方法，在正文记述中使用双行小字，随后双行小字的使用范围不断拓展，使得方志记述的重点更加突出、内容更加准确、信息承载量大大提高，这为到南宋孝宗时纲目体体例产生提供了充分的实践基础，其后在纲目体体例基础上又孕育产生了史志体体例；同时，宋朝方志还在凡例设置、志体定名、小序和按（语）论（赞）运用、修志本末使用等方面做了积极的探索。在编纂原则上，宋朝方志编纂者充分借鉴和吸收一些史书编纂原则，在强调“据实直书”的基础上，针对内容编排、述而不论、越境不书、人物记述、详略处理等问题提出了多种不同的主张。在编纂方法上，宋朝方志编纂者紧扣选用入志资料、反映编纂旨趣、突出重点内容、考据订正史实等问题，形成了诸如续订补增、寓有微意、大书实政、“会萃伦次”、多说并举等一系列颇具宋朝特色的操作方法。在编纂组织上，宋朝方志形成了以官修为主导、以私修为补充的组织模式，并围绕官修方志出现了“政成修志”、官修速成等比较独特的方志现象。深入探究宋朝方志发展定型过程中形成的方志编纂规范体系，对于推动中国方志发展史研究有着重要的破题意义，不仅有助于增强对宋朝方志编纂活动的认识，而且对于推动宋朝以后各个朝代的方志发展研究也有着重要的参考借鉴意义。

During the Eastern Han Dynasty, both Diji(地记) and Tujing(图经) appeared, and for a considerable period of time they developed along their own paths. During the Wei, Jin, and Northern and Southern Dynasties, in order to adapt to the development of local economy and the increasing power of local wealthy families, Diji were more popular. During the Sui and Tang dynasties, with the strengthening of national unity and centralization, the compilation of Tujing became increasingly popular. By the late Tang Dynasty, there had been a trend of convergence between Diji and Tujing.

During the Northern Song Dynasty, the three dynasties of Song Taizu, Song Zhenzong, and Song Huizong organized large-scale national Tujing editing activities. On the one hand, the editing produced many Tujing editing achievements, especially "the Xiangfu Zhou and County Tujing"(《祥符州县图经》) which was compiled and issued to each state and county, providing a national standardized Tujing editing blueprint for each state and county, effectively promoting the development of the Song Dynasty's Fangzhi(方志); On the other hand, in terms of the composition of the compilation personnel, the situation where the Sui, Tang, and Five Dynasties dynasties were mainly composed of petty officials to compile Tujing was changed. A large number of "literary scholars" participated in the compilation activities of Tujing, effectively promoting the transformation of Tujing from official documents and archives to specialized writing, and ultimately changing the nature of Tujing. During the Song Zhenzong and Song Huizong dynasties, there were two national Tujing editing activities. The court also made standardized requirements for the Tujing editing system and issued a unified outline for the compilation of the Tujing, including content on local officials, famous figures, and other figures. This played an important role in guiding and driving the expansion of the Song Dynasty's Fangzhi towards human cultural content.

By the reign of Emperor Xiaozong of the Southern Song Dynasty, the development and finalization of Fangzhi in the Song Dynasty had been basically completed, which was manifested in three aspects: firstly, the number of people using "Zhi" as the title far exceeded that using "Tujing" as the title, and the situation where the majority of people using "Tujing" as the title completely changed, making the development and finalization of Fangzhi in the Song Dynasty truly between "name" and "reality", and also forming a situation where Fangzhi dominated by "Zhi" as the title; The second is that the traditional style of parallel doors has achieved new development. Based on this, and deeply influenced by Zhu Xi's compilation of the "Zizhi Tongjian Compendium"(《资治通鉴纲目》), the style of Fangzhi has emerged, and significant innovations with revolutionary significance have emerged in the style; Thirdly, Fangzhi have undergone significant expansion in terms of narrative content, including simultaneously recording official and official titles, jinshi titles, biographies of figures, and artistic works, gradually shifting the focus of Fangzhi from focusing on geographical content to emphasizing both geographical and humanistic content. Afterwards, the compilation style of the Song Dynasty's Fangzhi continued to develop. On the one hand, the Compendium style continuously explored to make up for its own shortcomings, making it constantly enriched and improved in terms of expression forms; On the other hand, in the matrix of the Compendium, a new style of historical chronicles emerged, and by the end of the Southern Song Dynasty, a relatively mature historical chronicle called "Jingding Jiankang Zhi"(《景定建康志》) had already emerged. In this way, the three main styles of compiling Fangzhi in later generations, namely the Pinglie Menmu(平列门目) style, Gangmu(纲目) style, and Shizhi(史志) style, achieved new significant development in the Song Dynasty, and continuously developed and improved in the Southern Song Dynasty. It can be said that the Song Dynasty's Fangzhi underwent revolutionary changes in the compilation style, providing solid support for the development and finalization of the Song Dynasty's Fangzhi, It also provided a solid foundation for the compilation of Fangzhi from generation to generation in the Song Dynasty. At the same time, Fangzhi of the Song Dynasty closely focused on how to better record the four contents of official and official titles, Jinshi titles, biographies, and artistic works, especially the two contents of biographies and artistic works. They continuously explored the setting method, category proportion, category structure, deepening of narration, and arrangement order, laying the foundation for the continuous development of these aspects in the future of the Song Dynasty.

In the process of development and finalization, the Song Dynasty's Fangzhi gradually adapted to the diverse needs of local governments and the intellectual class, showing strong vitality. This promoted the continuous enrichment and improvement of the Song Dynasty's Fangzhi in terms of compilation ideas, styles, principles, methods, and organizations, forming a series of relatively mature and systematic normative systems for Fangzhi compilation, which had a profound impact. In terms of compilation ideas, the Song Dynasty Fangzhi established the understanding of "compiling Fangzhi with time", which believed that Fangzhi must be continuously updated, and initially formed the theory of local officials as the subject of compiling Fangzhi. They also conducted comprehensive discussions on basic theoretical issues such as the origin, nature, and function of Fangzhi, laying the foundation for relevant discussions among Fangzhi after the Yuan and Ming dynasties. In terms of compilation style, from the middle of the Northern Song Dynasty at the latest, the Pinglie Menmu style Fangzhi began to introduce the method of annotation and commentary through classics, using double line small characters in the main text description. Subsequently, the scope of use of double line small characters continued to expand, making the focus of Fangzhi description more prominent, the content more accurate, and the information carrying capacity greatly increased. This provided a sufficient practical basis for the emergence of the Gangmu style during the reign of Emperor Xiaozong of the Southern Song Dynasty, Subsequently, on the basis of the Gangmu style, the Shizhi style was developed; At the same time, the Song Dynasty's Fangzhi also made active explorations in the setting of Explanatory Notes(凡例), naming of Zhiti(志体), the use of small preface and editor's notes and remarks, and the use of Fangzhi compiling ins and outs(修志本末). In terms of compilation principles, the compilers of Fangzhi in the Song Dynasty fully borrowed and absorbed some principles of historical book compilation. On the basis of emphasizing the principle of "truthful and direct writing", they put forward various opinions on content arrangement, description without regard, cross-border non recording, character description, and detailed and brief handling. In terms of compilation methods, the compilers of Fangzhi in the Song Dynasty closely focused on selecting recorded materials, reflecting the compilation purpose, highlighting key content, and verifying historical facts. They formed a series of operation methods that were quite distinctive of the Song Dynasty, such as renewing and adding, embodying subtle meanings, carrying out practical policies in large books, "gathering lineages", and using multiple explanations simultaneously. In terms of compilation organization, the Song Dynasty's Fangzhi formed an organizational model dominated by official cultivation and supplemented by private cultivation, and there were uniqueFangzhi phenomena such as "compiling after completion of government affairs",rapid completion of official cultivation,around official cultivation of Fangzhi.Deeply exploring the standardized system of Fangzhi compilation formed during the development and finalization of the Song Dynasty's Fangzhi has important problem-solving significance for promoting the study of the development history of Chinese Fangzhi. It not only helps to enhance the understanding of the Song Dynasty's Fangzhi compilation activities, but also has important reference significance for promoting the development of Fangzhi in various dynasties after the Song Dynasty.