| dc.description.abstract | Li, Meng-yang 李夢陽 said: “Fu doesn’t exist in Tang dynasty. 唐無賦”In this case, we couldn’t find any Fu masterpieces in Tang Dynasty唐朝. However, Li, Fang 李昉, from Song Dynasty 宋朝, edited “Wen-yuan-ying-hua”文苑英華, in which many Fu elite pieces from Tang Dynasty were collected and edited. From this perspective, the point ‘Make Chu-sao and Han-fu great again 祖騷宗漢’ of Chu, Yao 祝堯 was allied to the view on the Gu-fu 古賦; so was the view of Hsu, Shih-Tcheng 徐師曾, the authour of Wen-ti-ming-pien 文體明辨. There was a different pattern of literature between them and Li, Fang, thus getting the scholars intrigued and manifesting interest in studying. According to Chian, Tshung-wu 簡宗梧, Lu-Fu 律賦 was the paradigm in its age, but it went through centuries with anomalies accepted. Consequently, in this study, the research on Lu-Fu to research would be approached with metacognition.
Based on “Fu-Pu 賦譜” , this essay would research into the eight Lu-Fu pieces of Hao, Hsu-chou and the their canonization. These eight Lu-Fu pieces were written in Tang Dynasty, when Buddhism and Taoism were the mainstream religions, hence some Buddhist and Taoist thoughts in his works. In spite of the assigned topic by the setter of imperial examination 科舉考試, his works sometimes are evidence of more profound Buddhism influence compared to his contemporaries, which is a valuable reference for the study in Lu-Fu. On the other hand, this essay also studies the rhymes, sentence patterns and the structure of paragraphs as stated in the static analysis. Overall, Hao, Hsu-chou Lu-Fu works are more closed by the paradigm as the foundation of “Fu-Pu”. In conclusion, his Lu-Fu pieces have been the most acclaimed works in Lu-Fu studies so far, and the literary circle has acknowledged the contribution of Lu-Fu. | en_US |