The Qing Dynasty is a prosperous period in the history of fu criticism. It made significant achievements in ancient-style fu's theory (古体赋论) and rhymed fu's theory (律体赋论), and completed respectively the construction of a theoretical system in these two fields. The fu criticism of ontology and origin, the comment of fu development history and artistic features fully demonstrate integrated characteristics of the times. From the development process of fu theory in the Qing Dynasty, it could be divided into the following stages: revival in the Kangxi and Yongzheng period (康雍时期), prosperity in the Qianlong and Jiaqing period (乾嘉时期), inheritance and turn in Xianfeng and Tongzhi period (咸同时期), reverberation in Tongzhi and Guangxu period (同光时期). What is particularly important is that ten monographs on fu (赋话著作) were written in this period, such as Pu Xian's（浦铣） Fuxiaozhai Fuhua(《复小斋赋话》), Li Diaoyuan's（李调元） Fuhua(《赋话》), Lin Liangui's（林联桂） Jianxinglu Fuhua(《见星庐赋话》), and so on. However, with the decay of the Qing Dynasty and the decline of testing fu in the Imperial Examination（科举试赋）, rhymed fu theory, though seemingly very prosperous, actually had already been at a low ebb, and theoretical criticism became less and less. In such a situation, Dai Lunzhe's Han Wei Liuchao Fu Zhaiyan Pushuo 《汉魏六朝赋摘艳谱说》) became the most important one of the works on fu criticism in the late Qing Dynasty. Dai Lunzhe's Han Wei Liuchao Fu Zhaiyan Pushuo , with the couplet criticism（摘联批评） as the center, connects all aspects of rhymed fu , such as fu's differentiation, examining the topic, structure, the first sentence, words, tones, syntax, colors, style, and so on. This is the inheritance and surpassing of fu's techniques（赋法）since the Tang Dynasty. Although criticism of the syntactic structure was mentioned in a variety of books such as Fuge （赋格）and Fupu （赋谱）since Tang and Song Dynasties, continued even to the some scholars' discusses in the early and middle Qing Dynasty, no one but Dai Lunzhe made such a systematic and detailed analysis on the syntactic criticism of fu . It was Dai Lunzhe who made fu's syntactic theory the most complete and systematic as it was. This is not only a result of referring to poetic techniques, but also the requirements of the testing fu in the Imperial Examinations. Dai Lunzhe's discourse on the fu techniques is not merely an embodiment of fu's style and format which changed along with the progress of times（因体代变）, but also shows the integration trend of ancient-style fu and rhythm fu and the idea of benefiting the society（经世之意）. This could be described from two aspects. First, Fu selections in Han Wei Liuchao Fu Zhaiyan Pushuo , always related to the quaintness（古致）, vitality (气韵), demeanor（风神）, the value system of fu, spirit of benefiting the society（致用精神）and historical criticism. Second, as for the fu's criticism, Dai Lunzhe emphasizes fu's simplicity（简雅）, emotional momentum（气势）, naturalness（自然）, merging of ancient-style fu and rhymed fu (古律融合), while pays less attention to rhythms, sounds and colors. This is both an inheritance to the differentiating and integrating of ancient-style fu and the rhythm fu from his predecessors, and an inevitable expression of the idea of benefiting the society which was in its last days. This article explains the theoretical connotation of Han Wei Liuchao Fu Zhaiyan Pushuo from two aspects, the rhymed fu theory's construction and ancient-style fu theory's respect. It brings forth new ideas by literature documents and close-reading methods, while in terms of the syntactic theory merging the ancient-style fu into rhymed fu and benefiting the society.