傅毅的《舞赋》不仅早于张衡之作,而且是唯一完整保存下来的专以盘鼓舞为描写对象的作品,它不仅是篇优美辞赋作品,也是我国舞蹈史研究中最珍贵的资料之一。《舞赋》描写细腻逼真,笔调清丽流畅,铺陈有序,生动传神,是汉魏六朝辞赋中的名作。傅毅的《舞赋》再现了汉代舞蹈已开始注重高难度的舞技,追求力度、惊险和刺激。有学者认为,汉代艺术所体现出的气势及蓬勃旺盛的生命力,为后代艺术所难以企及。在汉代舞蹈所展现的磅礴大气、张扬狂放的意象世界里,我们所能感受到的是那种不可一世、唯我独尊的浩然气势。 Fu Yi’s “Dancing Fu” was not only earlier than Zhang Heng’s works, but also was the only preserved work dedicated to discouragement. It was not only a beautiful piece of Ci Fu’s work but also the most precious material in the study of Chinese dance history one. The description of “Fu Fu” is exquisite and vivid, the pens are elegant and smooth, the orderly and vivid, vivid and vivid, is the masterpiece in Ci Fu in the Han, Wei and Six Dynasties. Fu Yi’s “Dance Fu” reproduces the Han Dynasty dance has begun to focus on the difficult dance skills, the pursuit of strength, adventure and excitement. Some scholars believe that the momentum and vigorous vitality embodied in the art of Han Dynasty can not be matched by the art of later generations. What we can feel in the majestic atmosphere demonstrated in the dance of Han dynasty is the magnificent momentum that we can feel the most.