The Style of Fu in Han Dynasty

Han Fu inherited some formal features of Chu Ci, paying attention to literary talent, rhythm and rhythm, and absorbing the extravagance of strategists in the Warring States period. In content, it focuses on "things" and also pays attention to "writing ambition", that is, expressing emotions by imitating things. In addition, it also tends to prose, often using parallel and double neat syntax, which is both free and rigorous, and has the nature of poetry and prose. That is, Sao Ti Fu, Handa Fu and lyric Fu Xiao. Judging from the structure and language of fu, prose, seven-style, argumentative and Tang-style fu are all close to prose, and some of them can be completely classified as prose. The poetic features of Fu are somewhat similar to prose poems in modern literature.

Sao Fu is the beginning of the prosperity of Fu literature. From the pre-Qin Dynasty to the Emperor Gaozu, they inherited the characteristics of Chu Ci and still used the word "Xi". Meicheng's "Seven Hair" laid the foundation of Fu literature.

Three-body Fu was produced in the development period of Fu literature from Emperor Gaozu to Emperor Wudi of Han Dynasty before he ascended the throne. The literary style of Fu in this period is mainly magnificent, so it is also called Three-body Fu. The masterpiece is Sima Xiangru's Shang Lin Fu.

Cultural planners and writers of Ci and Fu first put forward the concept of "Five Musts in Han Dynasty" and thought that Fu was also one of the five musts. He thinks: "Fu is a literary genre that best represents China culture and a unique style of Chinese nation. In China's classical literature genre, Fu's "Inclusive Universe, Commanding Characters" makes full use of the characteristics of Chinese characters' glyph structure and gives readers a strong visual stimulus in the arrangement of glyphs. Fu is a style that best embodies China culture and best represents Chinese characters and their advantages and characteristics. "