Regarding Fu(赋), Some scholars from the Han dynasty firstly gave a definition from their own view. For example, Liu Xiang(刘向) and Ban Gu(班固) thought that reciting without singing was Fu, which uses recitation and has the artistic connotation of "not singing". It has been emphasized the visual and painterly effects of creating a Fu while emphasizing the descriptive and performative characteristics of reading. It became the most authoritative definition of Fu in the Middle Ages of China after being repeatedly cited from the Wei Jin to the Tang Dynasty. However, in the Song and Yuan dynasties, when people were discussing the way forward of Fu, they began to suggest a concept of ‘singable’. This conception was based on the dual facts of the paradigm struggle between ‘Han Fu(汉赋)’ and ‘Chu Sao(楚骚)’ and ‘becoming singable’ of rhymed literature at that time. By conscious reflection on the tradition of ‘unsingable’ since the Han Dynasty, ‘Han Fu’ was transformed from the style featuring the ‘magnificent beauty’ to the ‘soft, euphemistic and singable’ genre. Through conscious reconsideration about the nature of ‘Han Fu’, the visual and ornate literary style was reformed to 'poetic style’ and contemplative aesthetical value. This process not only triggered the turn and new change in the history of Fu, but also expanded the boundaries of ‘Doubting the Tradition(疑古)’ and "Changing the radition(变古)’ in Song and Yuan cultures.