礼制是治国理政的重要基石，囊括了从平吉到凶丧、从都城到乡里、从文本到实践的全方位规范，对于稳定政权统治秩序、构建社会伦理道德体系意义重大。赋体在生成机制、文体功能、文本内涵、话语系统、审美取向诸多层面都与礼制密切相关。本文梳理了唐至北宋礼制相关赋体的创作全景，还原赋体生成演进的礼制语境，将赋体纳入到更开阔的文体层级、文化系统中做多向度考察，从礼乐书写、礼制活动、礼制空间三个视角，揭示唐至北宋赋体的体制特征、赋史意义与历史价值，阐释赋体审美转型与时代变迁的关系。

 第一章论述礼乐书写的文体系统与文本秩序确立。在政治与礼乐制度的影响下，唐宋两朝的礼乐书写形成了三个层级的文体系统，它成为礼乐书写文体选择、文本创作的内在架构与文本秩序确立的重要基础。第一层级是以皇帝名义发布的王言文本，指帝王御制或大臣奉敕所撰诏、制、赦、敕、御札、德音、书、铭等，具有纲领性的指导作用，对其他文体的书写旨意产生了一定的限制和规定。第二层级是陈情议事、揄扬国体的舆论性文本，指朝野进献的奏、议、赋、颂、诗、表等，具有较强的影响力或倾向性，是文士参与礼乐治国实践的有效途径，成为朝廷礼乐法度建设的重要参照。第三层级是御制奉和、即事抒怀的诗体，基于作者的大礼体验、仕宦境遇和作诗主旨，有顺序、有层次、有重点地叙述礼乐活动的重要场景，具有以诗纪事的典型特征。礼乐书写的三级文体系统及其文本秩序的确立，为本文重新审视赋体的文学样式及发展特征进一步拓宽了文本视野，廓清了文本系统。唐宋时期与礼制相关的赋体，包括大礼献赋、应诏作赋、科举试礼，这是王朝集权在政治、思想、艺文领域的文本体现，是王朝礼乐书写文体体系的重要组成部分。通过辨析赋与颂、赋与铭、赋与制诰这三组文体的异同，突出赋体特有的语言形式和审美形式。

 第二章论述大礼献赋的应用场域与政治秩序建构。初唐礼制相关赋作的运行机制，与太宗、高宗、武后各阶段相应的政治态势与意识形态诉求相关，展现为清晰的时间性叙事，完成了李唐王朝从高祖到太宗、从高宗到武周系列形象的转变与塑造。盛唐礼制相关赋作与初唐尤其是武周时期的赋体生成机制，具有一定的延续性和同质性，但同时展现出赋体新风，体现为从东都洛阳到北都太原的时空特征与组赋形态，从郊祀到京殿的题材转向与章法结构，赋风体物浏亮、壮丽雄浑，蔚为大观。衍至宋初，真宗将太宗强化政治秩序的礼乐治国实践推向新的阶段，借助迎天书、东封西祀、宣读天书等体系完备的礼制活动，主动参与并主导规范各类文学创作及审美范式，在澶渊之盟后努力营造“礼乐明备，颂声洋溢”的太平治世局面。宋初大礼献赋的文体功能从二元的讽颂转向一元的颂美，赋文从纲领性王言中汲取内涵旨意和表达构件，对帝王功绩和太平氛围加以重构转化、渲染宣传；赋语系统与制诰王言具有同源化属性和同质化风格，形成典重温润、丽则兼备的新风。

 第三章论述科举试礼的书写方式与思想秩序阐释。唐代律赋以礼命题的程式特征，体现了从礼经、礼典到文本的经典化过程，体现了唐代赋体与最高政治权力话语的密切联系，唐玄宗的礼乐时事在中晚唐律赋中，沉淀为宣扬盛世礼乐、彰显权威的盛世文学传统和相关历史记忆。随着汉至初盛唐礼学传统在经典解释、礼法制作与人伦教化层面的逐渐式微，中晚唐至北宋的文人士大夫开始为礼学建立新的思想根基；以文本解释为主的汉唐注疏传统日渐枯竭，天象岁时赋的文本创作数量因此趋于减少，这类题材的写作内容也发生变化；北宋典礼、音乐题材的律赋在命题立意上，从因革汉唐也转向复归三代；北宋儒者在佛、道的双重影响下，开始将礼乐教化作为“成圣”之途，经由中晚唐至宋代文人士大夫的努力，礼学在宋代完成蜕变。

 第四章论述礼制建筑的题材选择与空间秩序营造。从唐长安、洛阳到宋汴京、临安，以南郊、明堂为代表的都城礼制空间，实际上是各时期权力关系和政治秩序的建筑载体。南郊礼是古代帝王在都城南郊圜丘祭天的祀礼，对宣示王朝统治的合法性、彰显以皇帝为顶点的权力结构至关重要。南郊赋的文本结构与都城南郊的选址、礼制的开展密切相关，具有源出《雅》《颂》的语言系统。相较于南郊赋稳定的书写传统，明堂赋的阐释空间更大，展现出明堂礼制与赋体演进的互动关系。明堂赋在类目上属于宫殿赋，大体遵循汉唐以来京殿苑猎赋的传统结构，重在敷叙、烘托明堂建筑的实体形制及其象征意义。中唐以降，明堂礼制出现建筑形制减损、制礼理念趋于俭省、亲祠频率趋高、仪式程序固化等时代新特征，赋文对宫殿书写的取材转向了辨析古今之制和诸家之说，并援引治道赋、典礼赋的题材范式，注重对明堂礼仪程序、治国理政方略、圣君之道建言献策。大礼献赋活动对明堂礼制的推进具有现实意义，不仅是塑造和丰富明堂建筑实体及其象征意义的核心话语方式，还是阐释明堂礼制实践的重要手段。

 本文所呈现的唐宋礼制与赋体演进的互动过程，归根结底是文体发展、时代变迁的剪影，在中古向近古转型的过程中拉开了一道别致的文体图景。赋体作为唐宋时期礼乐治国实践的重要礼制环节和艺文活动，在文体功能、文本内涵、话语系统上相继产生诸多变化，反映了礼乐治国实践从思想集权走向艺文集权的过程，也是从政治秩序投射到文本秩序的过程。唐宋赋体以具体的文学活动、特殊的文体形态，强化了当时的权力观念，也参与了唐宋政治秩序的建构，见证了唐宋历史格局的演变进程。

The ritual system is an important cornerstone of governance, and is of great significance in stabilising the ruling order of the regime and building an ethical and moral system in society. The Fu was closely related to the ritual system in terms of its generation mechanism, stylistic function, textual connotation, discourse system and aesthetic orientation. This article compares the panorama of the creation of Fu related to the ritual system from the Tang to the Northern Song dynasties, restores the ritual context in which the Fu evolved, incorporates the Fu into a broader stylistic and cultural system, and examines it from three perspectives: ritual writing, ritual activities, and ritual space, revealing the institutional characteristics, historical significance, and historical value of the Fu from the Tang to the Northern Song dynasties, and explaining the relationship between the aesthetic transformation of the Fu and the changes of the times.

 Chapter 1 discusses the establishment of textual order. Under the influence of both politics and the ritual and music system, the ritual and music writing of the Tang and Song dynasties formed a three-tiered system of literary styles, namely, the king's words, which were issued in the name of the emperor, the public opinion texts, which presented the opinions and deliberations of the state, and the poetic style, which was a way of expressing the sentiments of the emperor and the poetry, which became an important basis for the choice of literary style, the inner structure of text creation and the establishment of textual order. The three-tiered system of ritual and music writing further broadens the textual horizon for this paper to re-examine the literary style and developmental characteristics of the Fu. During the Tang and Song dynasties, the ritual-related Fu genres included the dedication of Fu during large ceremonies, the composition of Fu by imperial edict, and the examination of Fu for the imperial examinations. This was the textual manifestation of dynastic centralisation in the political, intellectual and literary spheres, and was an important part of the dynastic system of ritual and writing styles. By identifying the similarities and differences between Fu and ode, Fu and inscription, and Fu and enjoining, the unique linguistic and aesthetic forms of the Fu can be highlighted.

  Chapter 2 explores the construction of political order. In the early Tang period, the mechanism of ritual-related Fu production is related to the corresponding political dynamics and ideological aspirations of Taizong, Gaozong and Wuhou, and is presented as a clear temporal narrative, completing the transformation and shaping of the image of the Li Tang dynasty from Gaozu to Taizong and from Gaozong to Wuhou. During the Sheng Tang period, the ritual-related Fu production mechanism both continued and changed, reflecting the spatial and temporal characteristics and grouping of Fu forms from the eastern capital of Luoyang to the northern capital of Taiyuan, and the shift in subject matter and chapter structure from suburban rituals to the capital's palace, where the Fu style was bright, magnificent and majestic. At the beginning of the Northern Song Dynasty, King Zhenzong pushed the practice of ritual and music to a new stage, and the function of the Fu shifted from a dualistic satire and praise to a unified praise and beauty, drawing connotations and expressions from the programmatic Wang-yin, reconstructing and transforming imperial achievements and the peaceful atmosphere, rendering and propagating them; the Fu language system and the enjoined Wang-yin had homogenous properties and a homogenous style, forming a new style that was both classic and warm, and beautiful.

Chapter 3 analyzes the interpretation of the ideological order. The ritual-themed ritual fu of the Tang Dynasty embodies the process of classicization from ritual scriptures and ritual codes to texts that are closely linked to the discourse of supreme political power. The ritual and current events of the Tang Emperor Xuanzong precipitated into the literary tradition and historical memory of the heyday that proclaimed the rituals of the heyday and manifested authority. As the Han and Tang ritual traditions declined in terms of classical interpretation, ritual production, and human morality, scholars from the Middle and Late Tang to the Northern Song dynasties began to establish new ideological foundations for ritual scholarship. During the transformation of ritual thought, the Han and Tang dynasties' tradition of textual interpretation dried up, and the number of rituals on the subject of the weather and the seasons tended to decrease and the content of writing changed in the Tang and Song dynasties; the rituals on the subject of ceremonies and music in the Northern Song dynasties shifted from the intention of the Han and Tang dynasties to a return to the three dynasties; the scholars of the Northern Song dynasties, under the dual influence of Buddhism and Taoism, began to take ritual and music as a path to sainthood. After the efforts of the scholars from the Middle and Late Tang dynasties to the Song dynasty, ritualism completed its metamorphosis in the Song dynasty.

Chapter 4 reveals the creation of spatial order. From Chang'an and Luoyang in the Tang dynasty to Bianjing and Lin'an in the Song dynasty, the ritual space of the capital city, represented by the southern suburbs and Mingtang, was in fact the architectural vehicle for power relations and political order in all periods. The rituals of the southern suburbs were crucial to the declaration of the legitimacy of dynastic rule and the manifestation of a power structure with the emperor at its apex, and the textual structure of the southern suburbs Fu is closely related to the location of the southern suburbs of the capital city and the development of the ritual system. In contrast, the Mingtang Fu is more open to interpretation. After the Middle Tang Dynasty, the Mingtang ritual system was characterised by a reduction in architectural form, a tendency towards frugality in the concept of rituals, a tendency towards a higher frequency of pro-shrine, and a solidification of ritual procedures, and the use of palace texts shifted towards an analysis of the ancient and modern systems and the opinions of various schools of thought. This shows the interaction between the Mingtang ritual system and the evolution of the Fu.

 The conclusion is that the interactive process of the evolution of the ritual system and the Fu during the Tang and Song dynasties is a silhouette of the development of the literary genre and the changes of the times. As an important part of the ritual system and artistic and literary activities of the Tang and Song dynasties, the Fu, in terms of its literary function, textual connotation and discourse system, has undergone many changes, reflecting the process of moving from the centralisation of ideology to the centralisation of art and literature, as well as the process of projecting from the political order to the textual order. With its specific literary activities and special stylistic forms, the Tang and Song Fu reinforced the notion of power at the time, and also participated in the construction of the political order of the Tang and Song dynasties, witnessing the evolution of the historical pattern of the Tang and Song dynasties.