唐代為中國歲時節日發展中一個承先啟後的重要時期，它將節日從原始崇拜禁忌的神秘氣氛中解放出來，轉為娛樂型和禮儀型的特徵，成為真正的良辰佳節。經濟、文化的高度發展，節日內容的日益豐富多彩，把遊藝雜技活動推向了高峰，而成為賦家創作的重要題材之一。與前代相較，唐代不僅承襲了傳統的節日，更有許多新創製的節日，如皇帝誕節、中和節、降聖節、佛誕節等。尤其唐玄宗誕節─千秋節日之雜技遊藝活動，往往成為唐代賦家的題材。賦作中之繩技、竿技與馬技等雜技遊藝書寫，不僅反映了唐王朝之興盛，亦豐富了當時以及後代文化藝術活動的開展，影響了文化藝術領域內的創造，具有深層的政治與文化心理意涵。由於節日中之雜技遊藝活動在賦家的書寫下，既擴大了辭賦內容題材的創作內涵，也豐富了古代之節慶文化，其所呈現之特殊審美風貌，應有其一定的意義與價值。
Tang Dynasty was a critical period in Chinese seasonal festivals. It liberated festivals from aboriginal taboo worship and made them auspicious ones with the entertainment and etiquette characteristic. Given the exuberant economics and culture development and the increasing variegation content of festivals, folk entertainment reached its peak development and became an important subject of fu-composition.Compared to its previous dynasties, Tang Dynasty not only upheld the traditional festivals but created new ones such as Emperor Birthday, Chung-Ho Festival, Lao-Zi Birthday, Buddha Birthday, etc. Particularly, the Chien-Chiu (Qian-Qiu) Festival (i.e., Tang Xuan Zong' Birthday) were often the main writing materials for Tang Dynasty fu-poets. Their writings, e.g., rope show, pole show, rodeos, etc., not only reflected the prosperity of Tang Dynasty but furnished the development of art and cultural activities at that time and later time. Furthermore, this kind of composition influenced art and cultural creation and deeply enhanced psychological meanings of politics and culture. Since the fu-composition on festivities extended the subjects of Chinese classic poetry and enriched festival culture, its special aesthetics is surely meaningful and valuable.
