賦在中國文學發展中有重要的地位，是一種出自於詩，而用於鋪陳寫物的文體，劉熙載云：「賦起於情事雜沓，詩不能馭，故為賦以鋪陳之。」賦的發展從屈、宋的騷賦，演變為「鋪采摛文」的漢賦，到了六期，唯美文學抬頭，遂發展成講究辭藻對仗，強調音韻，大量用典，追求形式技巧的駢賦，鮑照正是此時期重要的代表人物。 鮑照的辭賦相當出色，他共有賦作十篇，其辭賦不管抒情或詠物，都帶有極強的個人色彩，他在賦中大量寄託其身世之感，表達悲憤之氣，所以文章風格顯得十分悲抑。對偶、聲律、用典等藝術手法，在他的辭賦中有傑出的成績，鮑照有意識的嘗試用整齊的句式去完成作，即使是散句，他亦用整齊句式鋪排，形成詩化的辭賦，同時在他的辭賦中，已注意到平庂對丈工穩，雖然此時的辭賦尚沒有形成定格，但其疏逸散朗，可以說是為?體文開先聲。

Fu, derived from poem, has an important role in Chinese literature development, which is mainly used for describing objects, events, or one’s feelings. Liu, Xi-Zai, mentioned that Fu is derived from describing events; Liu, Xi-Zai mentioned that Fu is derived from describing events; therefore, the main purpose of Fu is in description which is not ezsy for poem to do so. Beginning from Qu Yuan and Sung Yu’s Shao Fu, Fu has developed to Han Fu or Ku Fu, enriched by more descriptions. By Sixth Dynasties, with the influence of aestheticism, Fu has evolved to Pian Fu, also called Pai Fu, in which chiasmus, rhyme, and citation are emphasized. Bao Zhao’s is a key representative of this writing style. Bao Zhao’s is famous for this Fu. He had ten masterpieces totally. In expressing personal feelings or describing events, Bao Zhao’s wrote about his humble upbringings and his anger towards the society; therefore, his pieces always show a sense of pessimism. He had enormous contributions in chiasmus, rhyme, and citation and tried very hard to make sentences balances in length, rhyme, and meaning. Although there was no formal format of Fu, Bao Zhao’s style has become an antecedent of Pian Ti Wen.