Object-chanting Fu Study With The Same Title From Han To Tang Dynasties

The object-chanting Fu with the same title(one kind of rhapsody on objects)from the Han to the Tang Dynasty shall be divided into three periods of time.so as to carry out a statistical analysis according to the change of theme selections for the object-chanting Fu with the same title in the first chapter of the dissertation:the selection of Fu composers in the Wei and Han Dynasties towards the theme of the object-chanting Fu with the same title is of demonstrated significance for succeeding generations,some themes offered the referable model of creation for the Fu of the same type in later generations;the theme selection of Fu composers in the western Jin and eastern Jin Dynasties and Southern Dynasties was more fresh and novel,representing the development of Fu composers in literature aesthetic consciousness;the theme well-received by Fu composers in the Tang Dynasty reflects the confident spirit of scholars in the Tang Dynasty.Through sorting out the theme in the different periods from Han to Tang Dynasties,it is obvious to see the different aesthetic tendencies of scholars and social mores during the Han and Tang Dynasties.The way of creation on the object-chanting Fu with the same theme has specific traits.From the Han to the Tang Dynasties,the way of creation for "synchronicity" in the object-chanting Fu with the same theme was occasionally all the rage.Through the investigation on the literary activity,social system and other factors from the Han to the Tang Dynasties,the second chapter of the dissertation analyzes the creation mechanism of the object-chanting Fu with the same title,and discusses the influence.Scholars in the Han and Wei-Jin south and north Dynasties primarily created their works in the intellectual's elegant assembly organized by governors or the leader of literary groups;in the Tang Dynasty,plenty of object-chanting Fus arising from the Fu created during the imperial examination facilitated the creation of the object-chanting Fu.The creation of "synchronicity" contributed to the prosperity of the object-chanting Fu.At the same time,the object-chanting Fu renovated in the creation technique as well as in the formal structure by virtue of the creation with a special purpose among Fu composers.However,the creation mechanism inevitably resulted in some drawbacks such as similar themes and solitary emotion in the object-chanting Fu(Plagiarism was quite common during the Jin Dynasties.)The creation of the object-chanting Fu with the same title manifests rich cultural connotations in the image construction.The third chapter of the dissertation investigates the construction of images in the object-chanting Fu with the same title.It is influenced by multiple factors such as the physical property,era and individuals.The construction of images in the object-chanting Fu has undergone a more zigzag and complex process than poetry,and it is determined by different stylistic features between both.The chapter mainly chooses the two images of"lotuses" and "fans" with typical meanings.Through the different understandings of the scholar of different epochs upon the same theme of the Fu,the emotional projection and life experiences of the scholar of different epochs towards the same object are observed;meanwhile,the object-chanting Fu developed from pure objects to emotion expressions and arguments due to the transit of image construction in the object-chanting Fu of different epochs,more affections and richer humanistic connotations were involved in the lifeless object of the object-chanting Fu.Compared to the property of the object-chanting Fu with the same theme in the Han and Tang dynasties,the fame of the object-chanting Fu started to decline after the Tang and the Song dynasties,and the construction of images gradually became rigid.The reason lies in the limitation of Fu's literary form,and there are many limitations in symbolization and emotional expressions.