咏物赋体发端于先秦而蔚然兴盛于两汉，作为汉代文人热衷的文学体裁，它不仅是汉代文学的重要组成部分，更是研究中国早期哲学、美学观念的综合性活体。但在相关研究中，汉代咏物赋长期处于边缘状态。究其原因，这既与汉代咏物赋研究范围的不确定性有关，更与中国传统文学、美学研究的理论范式有关。就此而论，调整研究的理论范式，回归中国本土美学思想，重新从宏观的历史、文化维度介入汉代咏物赋的研究工作成为必然。综合古今学者对咏物文学的界定，在对汉代咏物赋的概念进行界定时更适合采取的是宽泛的界定方式。在具体的研究过程中，则以动物、植物、器物这三类经典题材为主，以建筑、天象、地理等富有争议的题材为辅，如此完成对现存汉代咏物赋作的考证与统计工作，展开对本选题的理论反思。咏物赋是赋体文学与咏物文学结合的产物。先秦文化中的周诗传统、楚骚渊源、隐语背景以及早期“赋”活动与现实政治的高度关联性四者共同发挥作用，作为文化基因，为赋体在汉代的兴盛提供可能。与此同时，在咏物文学发展的最初阶段，咏物意识与咏物活动的发生并非基于单纯的审美需要，而是孕育自原始先民的万物有灵信仰以及功利化、实用化的物象态度，至战国时期，以政治、伦理功用为目的，以物自身的自然属性为基底的咏物传统逐步确立。与诗体相比，热衷于铺陈物象的赋体显然与先秦咏物精神更为契合，为咏物赋的产生提供了契机。至两汉时期，赋体文学对现实政治环境的高度适应则进一步促成咏物赋的兴盛——汉代咏物赋成为汉代咏物文学的主要组成部分，咏物赋体也成为最先发展成熟的咏物文体。先秦赋体精神与咏物传统影响到汉代咏物赋的价值构成，令之成为兼具有政治、教化功能以及审美、娱乐价值的综合性文学作品。根据咏物赋家创作目的的不同，汉代咏物赋可分为献纳之赋与个人之赋。献纳性质咏物赋是为上位者而作，随着现实政治环境的变化，经历了发端、兴盛、式微、复兴、再次衰落五个阶段。个人性质咏物赋主要用于咏物赋家的“自广”与自娱，与献纳赋相比，反映出的是咏物赋家更为真实的情感、物象态度。具体言之，汉代植物赋立足于农耕文明实用理性的基础之上，尤其强调植物的实用价值与感性之美；汉代动物赋立足于中国早期文明的巫术信仰与凤鸟崇拜习俗，其中的动物往往具有强烈的神性含义与悲感色彩；汉代器物赋则立足于汉代的人文视野，或者追溯器物的自然之维，或者强调器物的器具性质，等等。汉代咏物赋并不是独立自足的文学符号，而是建基于咏物赋家或者君主的政治诉求之上，同时又包含咏物赋家乃至那个时代的伦理、哲学观念。这种承载着政治、伦理、哲学含义的物象在赋作中被不断模仿、复制，逐渐形成一套稳定的物象塑造模式。具体到不同时期、不同类型、不同题材的咏物赋中，物的政治功能、教化价值、物本身的自然属性所占的比例有所增减。以中国本土物象观念为基底，汉代咏物赋营造出极具灿烂感性、理想化、人格化的物象世界。魏晋时期，玄学兴起，士子文人由无限开阔的外向感知向内回返，与之相应，这一阶段的咏物赋也体现出鲜明的诗化、玄思化倾向。但是，赋体的文体特征决定了它只能铺展，无法走向纵深。唐宋时期，面对超越具象穷究义理的审美需要以及新的物象观念的冲击，在艰难的适应过程中，咏物赋逐渐式微，咏物诗、咏物词则相应崛起，中国传统咏物文学进入全新的发展阶段。

Object-chanting Fu originated in the Pre-Qin Dynasty and flourished in the HanDynasty. As a popular literary genre of Han Dynasty, it is not only an important partof the literature of Han Dynasty, but also a comprehensive living materials for thestudy of early Chinese philosophy and aesthetic concepts. However, in the relevantstudies, Object-chanting Fu of Han Dynasty has been in a "marginal" state for a longtime. The reason for this is not only related to the uncertainty of the research area, butalso to the theoretical paradigm of traditional Chinese literature and aesthetics. In thisregard, it is necessary to adjust the theoretical paradigm of the study, return to thelocal aesthetic ideas, and re-intervene in the study of Object-chanting Fu in the HanDynasty from the macro-historical and cultural dimensions.By synthesizing the definition of Object-chanting literature by scholars ofancient and modern times, it is more suitable to adopt a broad way of definition whendefining the concept of Object-chanting Fu in the Han Dynasty. In the specificresearch process, animal, plant and artifact are the three classical subjects, andarchitecture, celestial phenomena, geography and other controversial subjects aresupplemented, so as to complete the textual research and statistical work on theexisting Object-chanting Fu in the Han Dynasty, and start the theoretical reflection onthis topic.Object-chanting Fu is the combination of Fu literature and Object-chantingliterature. The tradition of Zhou poetry, the origin of Chu Sao, the background ofargot language and the high correlation between the early "Fu" activities and therealistic political environment play a role together. As the cultural gene of Fu, itprovides the possibility for the prosperity of Fu literature in the Han Dynasty. In theinitial stage of the development of Object-chanting literature, Object-chantingconsciousness and activities were not based on pure aesthetic needs, but on theprimitive ancestors'animistic beliefs and their utilitarian and practical attitude towardsobjects. In the Warring States Period, the pre-Qin tradition of chanting objects wasgradually established with the purpose of political and ethical functions and based onthe natural attributes of objects themselves. Compared with the poems style, the Fustyle which is keen on laying out objects and images is obviously more in line withthe spirit of "chanting objects", which provides an opportunity for the emergence ofObject-chanting Fu. By the Han Dynasty, the highly adaptability of Fu literature to therealistic political environment further contributed to the prosperity of Object-chantingFu.The pre-Qin Fu spirit and the tradition of "chanting objects" influenced the valuecomposition of Object-chanting Fu in the Han Dynasty, making it a comprehensiveliterary work with political, educational, aesthetic and entertainment values.According to the different creative purposes of Fu writers, Object-chanting Fu in theHan Dynasty can be divided into two categories. With the change of politicalenvironment in the Han Dynasty, the creation of Object-chanting Fu to the monarchhas experienced five stages: beginning, prosperity, decline, revival and decline again.Compared with the Object-chanting Fu to the monarch,Personal Object-chanting Fuin the Han Dynasty reflecting the more real emotion and attitude of objects of Fuwriters.Specifically speaking, the Plants-chanting Fu of Han Dynasty is based on thepractical rationality of farming civilization, especially emphasizing the practical valueand perceptual beauty of objects; the Animals-chanting Fu of Han Dynasty is basedon the witchcraft belief and phoenix worship custom of early Chinese civilization, andthe objects in the Fu often have strong symptomatic color and sad tone; theArtifacts-chanting Fu of Han Dynasty is based on the humanistic vision of HanDynasty, or traces back to the artifact itself, or emphasis on the nature of itsappliances, and so on.In the Han Dynasty, Objects-chanting Fu is not an independent symbolic system,but based on the political demands of the author and the recipient. It also includes theethical and philosophical concepts of the author and the era, as well as the concern forthe perceptual factors of the object itself. This kind of image, which carries political,ethical and philosophical meanings, duplicates constantly in the fu, and graduallyforms a set of stable image-building mode. Specifically, in different periods, types andthemes, the proportion of the political function, enlightening value and the naturalattributes of the object itself has increased and decreased. On the basis of the conceptof local images in China, the Fu of chanting objects in the Han Dynasty created aworld of images with brilliant sensibility, idealization and personification. In the Weiand Jin Dynasties, poets and scholars returned from infinite and open outwardperception to inward. Accordingly, the Objects-chanting of Fu in this stage alsoshowed a distinct tendency of poeticization and philosophization. However, thestylistic features of Fu style determine that it can only be spread out and can not godeep. In the Tang and Song Dynasties, impact of the new concept of images,Objects-chanting Fu gradually declined in the difficult process of adaptation,Objects-chanting Poem and Objects-chanting Song rose accordingly, and Chinesetraditional Objets-chanting literature entered a new stage of development.