The "Poems" have the six meanings of wind, elegance, praise, endowment, ratio, and xing. This shows that fuyuan is a literary expression method, and it is a later matter that the line becomes a literary genre.
"Fu Ren, Pu Ye, Pu Cai (pronounced chī, meaning lay Chen) text, body writing Zhi Ye." This is the characteristic of fu pointed out by Liu Xun, a literary theory critic of the Liang Dynasty during the Southern and Northern Dynasties, that is, in form, extravagance is the ability to do things (laying out the literature), and the content is mainly based on the reasoning of the wing (body writing). More use of the dual sentence style, more use of image metaphors and gorgeous rhetoric, more use of a stereotyped subject-object question and answer. Although it inherits Qu Yuan's art form and expression methods, it varies greatly in style: Qu Yuan's works are poetry, while Han Fu is prose with rhyme.
The main reason for the formation of han fu is that the Han Dynasty was in the rising period of China's emerging landlord class, and it was necessary to sing the praises of literature to serve it. From the Chu Ci (such as Qu Yuan's "Leaving sorrow"), we can see that the poetry of the Riot style did not meet the needs of the Han rulers. Moreover, some rulers of the Han Dynasty who held real power vigorously advocated that Emperor Wu of Han was good at resigning, and Emperor Ling of Han was even more endowed with calligraphy and painting. This made Han Fu occupy a place in the history of Chinese literature with its unique style, and some famous lexicographers appeared.
Jia Yi (201 BC – 169 BC), a native of Luoyang, Henan. An excellent writer of the Han Dynasty. His "Hanging Qu Yuanfu", "Peng Bird Fu", "Dry Cloud Fu", etc., can criticize the ills of feudal society to a certain extent, have a certain progressive significance in history, and have a certain impact on future generations. His endowment is different from Han Fu, and is the transitional body from Chu Ci to Han Fu by Qu Yuan.
Multiply (?) ~c. 140 BC) Zi Shu, a native of Huaiyin, Jiangsu Province. His Seven Hairs marked the formation of Han Fu. The content and subject of the seven hairs written by Mei Cheng, with the purpose of persuading the rulers, objectively exposed the decay of the lives of the upper rulers, with a more distinct irony. In terms of formality, the "Seven Hairs" are a model for Han Fu, and the Han Fu families after the multiplication are more imitative of the "Seven Hairs".
Sima Xiangru (?) ~118 BC) character Changqing, a native of Chengdu, Sichuan. In terms of art form and technique, his works are still the changes and development of Chu Ci; the representative works "Zi Xuan", "Shanglin", and "Seven Hairs" of Bi Mei multiplier have developed in "extravagance": the rhetorical techniques of duality and comparison and the use of a large number of conjunctions make the word collection more gorgeous. However, the ideological content, due to the praises of "persuading one hundred ironies and one irony", did not truly reflect the essence of that era. Since then, many of the fu families such as Yang Xiong, Ban Gu and others have also been mostly like this. However, coupled with formal conformism, many endowments are of low literary value.
Here should mention Zhang Heng in the Eastern Han Dynasty. Zhang Heng (78~139) was a native of Nanyang, Henan. He was an outstanding scientist in ancient China and a famous fu family in the Eastern Han Dynasty. Compared with other fu works, his "Tokyo Fu" and "Xijing Fu" have some new ideas: they reveal the author's true feelings, expose the increasing corruption and degeneration of the rulers, and reveal some shortcomings in social life, which has a certain practical significance. His endowment has played a role in carrying forward the past and enlightening the future. His short gifts "Guitian Fu" and Cao Zhi's "Roselle Fu" are mostly lyrical works that can give people a sense of freshness.
In general, Hanfu is inferior to its previous poetry classics and Chu Ci in terms of ideological content and artistic techniques, nor as well as its later Tang poems, Song Ci, and Yuan Qu, but as a specific form of literature in a specific era, Han Fu still has its own characteristics, so many Fu works can be passed on to future generations and become an integral part of the history of Chinese literature.