《四庫全書》保存圖書文獻的價值，向來備受矚目，相較於文獻價值，叢書藉以完成的基層工程──抄寫，並未得到太多關注。抄成於乾隆時期的七部《全書》，今存文淵、文溯、文津三閣本，都屬最初計畫供奉御覽的「北四閣」；其抄寫者，是善於書寫的舉人與貢、監生，參與者多達三千餘人。這項典籍抄寫工程，書寫技藝上的表現，論者或以「館閣體」簡括陳述之，或以為在朝廷規範下「字樣前後一致」，評述皆未得其實。本文旨在反省類此刻板認知，說明標示「館閣體」之名，無助於了解《全書》抄寫情況；而從書寫的實用觀念入手，發現謄錄圖書時強調的恭敬態度，與清廷儒學教育頗有關聯。手抄小楷，看似整齊，其實蘊含豐富的書風差異，本論文以文淵閣本為例，具體區分書跡風貌類型，期能對這份手抄巨構，有更深入的理解與整理。

The value of the preservation of documents in Siku Quanshu has always attracted attention. Compared with the value of the documents, transcription which is indeed the basic part to create the series of books has not received much attention. Three of the seven sets of Siku Quanshu, Wenyuan Pavilion, Wensu Pavilion, and Wenjin Pavilion, which were transcribed during the Qianlong period, belonged to “Beisi Pavilion” that was originally planned to be read to the royalty. It took more than 3,000 scholars who were good at writing to transcribe. The performance of transcription of the classics was either stated in brief as the Pavilion Style (Guange Ti) or thought to be the same handwriting under the regulation of the court. Both of these assumptions are not true. The purpose of this article is to reflect on this misconception and to explain that the name of the Pavilion Style (Guange Ti) does not help understand the manuscript situation of Siku Quanshu. In terms of the practical concept of writing, the respectful attitude that was emphasized when transcribing books is quite relevant to the Confucianism education in Qing Dynasty. Manuscripts (regular script in small characters) appear to be neat and tidy; as a matter of fact, there is a wide variety of penmanship styles. This paper uses Wenyuan Pavilion version as an example to specifically distinguish the types of handwriting and to have a deeper understanding and arrangement of this manuscript masterpiece.