南宋孝宗朝的乾道、淳熙年間，因朝廷隆文政策的取向，一時文學彬彬之盛，被史家稱之「小元祐」，而辭賦創作也隨著文制的變遷，特別是對科舉考賦的歸復與推崇，成為繼宋初殿試辭賦、元祐恢復考賦而出現的又一賦學隆興的歷史階段。在這一階段，由於科舉考賦的宣導，辭賦風尚出現了兩大明顯走向：一是對律賦的重視，在文人筆下出現了大量的律賦創作，成為南宋律賦創作的代表；二是對辭賦創作典範的塑造，其中又包涵了兩個方面：一則追溯當朝歷史，樹立了歐（陽修）、蘇（軾）賦的創作典範；一則當時科場律賦的大量創作，又為後世樹立了頗有時代特色的諸如陳傅良、樓鑰等人律賦創作的典範，堪稱賦壇之「乾淳體」。南宋後期因賦家對乾、淳遺老律賦創作的心摹手追，又形成辭賦批評求適於文場的應用性之一翼，而與文人賦批評出現對待與分離的態勢。

With the national policy emphasizing on literary writings, the years of "Qiandao" and "Chunxi" in the Southern Song are compared by historians to the years of "Yuanyou" in the Northern Song Dynasty. "Fu" revives and flourishes during the years of "Qiandao" and "Chunxi" because it is reinstated as an item of the imperial examination. Two apparent new tendencies emerge: an emphasis on the "lüfu" (regulated "fu") and the formation of the "Qian-Chun" style. The "Qian-Chun" style is a combination of the Ou style (Ouyang Xiu' style) and the Su style (Su Shi's style) in the Northern Song, and the style of the writers then, such as Chen Fu-liang and Lou Yue. "Lüfu" works in this period are considered the most representative of this genre in the Southern Song Dynasty. In the last period of the Southern Song, the imitation of the "Qian-Chun" style leads to the existence of a new type of "fu" criticism, which especially opposes the traditional artistic criticism and stresses on the pragmatic value of "fu" in the imperial examination.