A Study Of The Spatial Writing In Han Fu

This paper takes Han Fu as the research text and selects literary space as the entry point to study the spatial writing of Fu in the Han Dynasty.This paper is divided into four parts.The first chapter examines the concept of space and literary writing before the Han Dynasty.The construction of Han Fu space was deeply influenced by the ancient concept of space in China,and was also enveloped by the writing about the world that was involved in literature of previous generations.The space awareness of the ancient was gradually clarified through their interaction with the natural world.The space perception of "the four sides of the world" and the imagination of the universe in the pre-Qin period were the source of the formation of the space concept in the Han dynasty.Classical documents such as Shi Jing,Chu Ci had a profound influence on the creation of the literary space of Han Fu,and they also served as the main reference for the literary space writing of Han Dynasty.The second chapter explores the types of space writing in Han Fu.The spatial writing of Fu writers can be divided into three spaces: figurative real space,divine imaginary space,and historical and cultural space.The figurative real space is the foundation of reality,which is represented in Han Fu by both physical geography and human architecture.Unlike real space,the construction of divine imaginary space focuses on the interaction between the immortal realm and the mortal world.In addition to creating the immortal realm of Kunlun and Penglai for mortals to visit,the Han Fu often immortalises the physical Kyoto palace.While the historical and cultural space relates to the question of time,the Han Fu weaves the political myth of Liu Xiu and Liu Bang through the beautiful government of the three dynasties,and in this way constructs the divinized history of Han Dynasty who endured the Mandate of Heaven,while the historical narrative of the Ji Xing Fu also shows the vertical narration of space,which expands the spatial writing of Han Fu in the depth of temporality.The third chapter examines the construction strategy of Han Fu space.In the process of writing,the writers of Han Fu enlarged their perception space.Firstly,the orientation writing is the most widely used and prominent way of constructing space,and Fugue writers were keen to unfold the description of the stated space from all directions.Secondly,The Fugue writers may adopt different perspectives when constructing the space under their writing,and the dynamic and static perspectives are widely used in different themes of Han Fu.Finally,writers select specific objects and imagery for different types of space.Symbolic space imagery often carries special cultural implications,but the main spatial elements repeatedly appear in Fu texts of different themes.The fourth chapter reveals the cultural implication of spatial writing in Han Fu.Han Fu is deeply influent by the era and cultural background of the writers,and the space writing of Han Fu was based on the political order of "great unity" and the demand of "Beautifying a great political achievement" of the Han Dynasty.The writing style of the literati of the Han dynasty reflects their fashionable aesthetic orientation,their thinking of their own living space,and the consciousness of constructing the world order centered on the Han Dynasty,which is highlighted in their transcendence of time and space and their literary imagination of "encompassing the universe".