The origin of Fu is one of the hot issues in the study of Fu, and this conference has made outstanding achievements in this respect. Fu Junlian recorded "Han Shu Literature and Art"
This paper makes a concrete textual research on Zafu, traces the source of self-deprecating Zafu to "speaking for the speaker" in Xunzi Wen Yao, and finds out the folk fu 1 in the pre-Qin period from Historical Records and Biography of Qiuci. Trace demonstrates the viewpoint that "Fu originates from folk songs". Wang Yixian deeply discussed the development process and system characteristics of "7" and "9" styles. Guo Jianxun carefully investigated the cultural implication, origin and evolution, literature description, structural system and stylistic characteristics of the "7" style name. Yujiang county county discussed the process of "sage lost his ambition"-Sao style fu. Gao Guangfu put forward the view that "literary groups originated from fu family"; Gao Hannian's Successive Works, Works * * * and Questions and Answers explain the transformation of the creation paradigm of Fu in Wei and Jin Dynasties and its significance in the history of literature. Su Huishuang discussed the inheritance and innovation of Fu and Yuefu under the influence of Qu Sao's lyrical spirit from the perspective of "vanilla image". Luo inspected the process of inheritance and evolution from Tang law to Fu. Cheng put forward the conclusion that "Ming is like Fu" and re-examined the relationship between Ming and Fu. Sun inspected the development of Ci and Fu in Tang and Song Dynasties from the perspective of imperial examination, while Li Runqiang discussed the relationship between Ci and Fu in Tang Dynasty and imperial examination. Cao Minggang also inspected the influence of Ci and Fu creation on tourism literature. These research viewpoints are novel and creative, which advances the discussion of the origin of Fu literature to 1 step. In addition, Dong Fenfen also inspected the pre-Qin prayers, speeches and speeches. Ma Shinian made a new exploration on the historical significance of Xunzi Fu Pian from the perspective of structural system. Ling discussed the evolution from body-object fu to object-chanting poetry. This theory is quite innovative and worthy of attention.
2. A summary of the studies on Fu's philology, stylistics and culturology in past dynasties.
The theory of ancient fu synthesis is the main content of this meeting. As "1 generation literature", Han Fu has always been the focus of scholars' attention. Wan made a new supplement and dialectic to the extant chapters of Han Fu attached to his General Theory of Han Fu from the perspective of document compilation, and made a cultural interpretation of his xiangru story, which is very interesting. Wu Guangping put forward a business exchange on the mistakes in writing and punctuation in All Han Fu. Taking the Tang and Song Dynasties as an example, Zhang Xinke deeply discussed the canonization process of Han Fu after Wei, Jin and Six Dynasties. Feng discussed the question-and-answer structure model of prose poems in Han Dynasty and its relationship with Confucian classics. Guo Lingyuan analyzed the relationship between Fu and "New Poetry" in the Eastern Han Dynasty from the aspects of expression and sentence patterns. Feng on the originality of Sao-style Fu in Han Dynasty under the influence of Qu Sao. Li Zexu and Liang Fuming investigated the relationship and similarities and differences between Fu and Fu, ode, inscription and admonition in Han Dynasty. Luo Jiaxiang talks about the cultural changes in the pre-Qin and Han Dynasties from the Qin and Qin instruments in Han Fu. Tang Jiekun continued "Discussion on Han Fu and Literary Consciousness", and China wrote "Deepening and Expanding the Study of Ci Fu-Graduation Thesis". Since the Wei and Jin Dynasties, the history of Fu has been paid more and more attention by academic circles. Cao Shenggao inspected the rise of literati poetry in Han and Wei Dynasties from the perspective of "Fu Fa". Wang Xiaowei made a comparative study on the subject source and language form of Qi-Liang Fu with the same title. Lin Dengshun analyzed the life consciousness of the Six Dynasties in the sad fu of Selected Works. Wang Dehua made a stylistic study on the typological features of Ci and Fu before the Tang Dynasty. Starting from the theme of life, Yu Yuxian discusses the influence of lyric fu in the Six Dynasties on poetry in the early Tang Dynasty. Dai also has his own new views on the investigation of music fu in the early Tang Dynasty and Zhao Junbo's body fu in the middle and late Tang Dynasty. Liu Pei brought Ci and Fu into the political and cultural field of vision, profoundly expounded the influence of party struggle in the late Northern Song Dynasty on Ci and Fu creation at that time, and had many original opinions; Li collected the historical materials of Fu Hui's operas in past dynasties, which has high literature value. Niu Hairong made a comprehensive exposition on the history of Fu in Jin and Yuan Dynasties. Li Xinyu discussed the creative practice of "Zusao Han Zong" in Yuan Dynasty.
3. Case studies of writers and works.
This research is the focus of scholars' attention, and it also embodies the characteristics of in-depth research and broad vision. Zhao Kuifu made a three-dimensional study on the creation background, system and influence of Ban Gu's Du Du Fu, which is a representative article on the study of Han Fu in recent years. His collating and research on Mei Cheng's Poem on Wang Liangtu Garden is also the most advanced academic achievement in this field. Long Wenling and Lu Hongsheng deeply investigated the influence of Emperor Wu of the Han Dynasty on Dong Fangshuo's Answering a Guest. Gao Huaping's interpretation of Qu Yuan's beautiful political thought, Zhang Shuguo's theory that "Regret for the Past" is the ninth chapter "Big Tail", Qi Ziyang's exploration of the relationship between the current version of Chu Ci and Liu An and the origin of its version, and Liu Xiangbin's analysis of the status evolution of Qu Yuan and Li Sao in the Han Dynasty also reflect the diversity of Chu Ci research. Zong Minghua discusses Zhuangzi's influence on lyric fu in Han and Wei dynasties with Zhang Heng's Zhulou Fu; Cao Hong made a new exploration on the relationship between Luoyang Galand and the literary tradition of Ci and Fu. The emptiness and reality of Wang Huanran's Ganquan Fu and Yushu Linfeng, the historical characteristics of Ji Kang's Qinchang Fu, the stylistic characteristics of Shangyuan Weichang's Baopuzi Waipian, the annotation of Xie Lingyun's Fu, and Hu's skill in writing Brocade Fu. Sun Jing's discussion on Wang Langya's ci and fu creation activities, Tan's description of lotus images in lotus fu and the evolution of lotus picking theme are also quite interesting. Yin Zhanhua's textual research shows that there were two Cui losses in the Tang Dynasty, and there were 1 Wang Yi in the Five Dynasties. The conclusion is convincing. Gong divided Su Shi's Fu into four categories: sightseeing, eating, political discussion and miscellaneous Fu, and commented on them one by one, which is of great significance to the study of Su Shi's Fu. He and others also discussed and analyzed the new changes before and after "Red Cliff Fu" and the creation background and content of Jin's "He Gui", while Li studied the creation of Ci Fu. Hao Runhua and Yan Xu also have new comments on the creation of Li Mengyang's Sao Fu. In addition, Zhan Hanglun's exposition of Taiwan Province Province's Fu, Kojima's inspection of Japanese Hukou Fu and Xiong Liangzhi's inspection of the annotation of Choe Zhangge's Wenxuan Duwei Fu in North Korea are all the development of traditional Fu.