This term refers to the poetic creation and achievements during the Kaiyuan (713–742) and Tianbao (742–756) reign periods of Emperor Xuanzong of the Tang Dynasty, as compared with poetic writing in the early Tang, mid-Tang, andlate Tang periods. This period, marked by good governance, prosperity, and stability, was a golden era for the great Tang empire before it was disrupted by the An Lushan and Shi Siming Rebellion. There was cultural infusion between the north and south, and travels to and from the outside world were frequent. All this made it possible for artistic creation to blossom. Of all the four periods of poetic creation, i.e., the early Tang, the prime Tang, the mid-Tang, and the late Tang, the prime Tang was the shortest, but its artistic attainment was most remarkable. This period produced legendary poet Li Bai (701-762) and poetic genius Du Fu (712-770) as well as a galaxy of outstanding poets such as Zhang Yue (667-731), Zhang Ruoxu, Zhang Jiuling (673 or 678-740), Meng Haoran (689-740), Wang Wei (701?-761), Gao Shi (700?-765), Cen Shen (715-770), Wang Changling (?-756?), Wang Zhihuan (688-742), Cui Hao (?-754), Li Qi (?-753?),and Wang Han. These poets extolled natural scenery, expressed noble aspirations, and depicted real life. Their writing style was both vigorous and unrestrained. They were broad in vision and were adept at using fresh, natural language, and their poems were full of power, vigor and an enterprising spirit. Their poems represented the highest attainment in classical Chinese poetry. This period also saw the thriving of the natural landscape school and the frontier school in poetry writing.
Musical sounds, or simply music, are artistically rhythmical sounds flowing forth from one’s stirring emotions. Ancient Chinese often made a distinction between musical sounds and plain sounds. Sounds created by a natural environment are plain sounds, while those created when emotions well up in one’s heart is music. A single sound is called sheng (声), different sounds that come together are called yin (音); when these sounds beautifully fit together, they are called music (yue 乐). Ancient Chinese believed that musical sounds derive from one's inner motions, and that the music of a country or a region reflects the popular sentiments and the social mores there. Hence Confucian scholars believed that art and literature demonstrate both virtues and flaws in a country's governance and therefore play the role of moral education.
The Jian’an literary style, also known as the Han–Wei literary style, refers to theliterary style from the Jian’an era (196–220) of the Han Dynasty to the early Northern Wei Dynasty, featuring powerful expression of passion, anxiety, and indignation. The final years of the Han Dynasty saw political turmoil, incessant wars, and displacement of people. Leading literary figures like Cao Cao (155-220), Cao Pi (187-226), and Cao Zhi (192-232), Kong Rong (153-208), Chen Lin (?-217), Wang Can (177-217), Xu Gan (171-218), Ruan Yu (165?-212), Ying Yang (?-217), and Liu Zhen (?-217), as well as female poet Cai Yan, inherited the realistic tradition of the folksongs of the Han Dynasty. In their writings, they dealt with subjects such as social upheaval, the suffering of the people, and the aspiration of individuals, expressing their creative spirit and resolve to pursue a noble cause. Their works demonstrate strength, courage and determination to overcome great odds. With a melancholy and powerful style that was magnificent, unique, and distinctive of its age, Jian’an literature emerged as a unique genre and came to be viewed by later generations as an outstanding literary style, with Jian’an poetry particularly highly regarded.