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2. New Tasks in the Study of Classical Chinese Literature in the Age of Globalization and Informatization Issues of Far Eastern Literatures: Materials of the 11th International Scientific Conference. June 27–29, 2024 33 Six Dynasties period. For example, Dutch scientist R. H. van Gulik states that “all literary evidence points to the custom began in the time between the Tang and Song dynasties”. Scholars rely largely on classical poetic or prose references, but fail to resolve the problem as to whether the references are to bound or merely small feet. Small feet had been esteemed in China since antiquity, but prior to the tenth century there was no verifiable proof that feet were bound. Chang Pangchi, a commentator who lived in the early twelfth century, cited a reference that footbinding had begun during the Southern Tang dynastic rule of sovereign-poet Li Yü (961–976), a ruler who controlled one region of a divided China prior to reunification by the Song. During the Song dynasty, footbinding came to be regarded as a device for the suppression of women. Chu Hsi (1130–1200) believed that the custom offered “a means of spreading Chinese culture and teaching of separation men and women”. Su Tungpo (1037–1101) wrote one of the earliest verses in praise of footbinding: Anointed with fragrance, she takes lotus steps; Though often sad, she steps with swift lightness… During the Yüan dynasty, footbinding gradually transmitted from the north to the center and south of China. In songs, poems, and plays of the period, there were frequent references to three-inch golden lotuses. The tiny foot came to be considered a mark of gentility. In con- clusion, a custom of footbinding proved to be a significant and lasting development in a nation whose outlook on feminine morality became increasingly stringent. Keywords: The origins of footbinding in China, Li Yü (961–976), Su Tungpo (1037–1101). Stroganova Nina (Peking University), nina.stroganova@mail.ru Song Gao 崧高 (Greater Odes of the Kingdom 大雅 , The Book of Songs 诗经 ) as a Prototype of Literary Message Zeng 赠 The prototype of literary message or epistle 赠 zeng (literal translation — “gift”, “to give a gift”) can be found already in the Book of Songs ( 诗经 Shijing) (XI–V centuries BC), the cradle of almost all the genres of the classical Chinese poetry. This prototype is Song Gao ( 崧高 ), contained in the Greater Odes of the Kingdom ( 大雅 Daya). Song Gao, although still associated with the poetics of folklore, is already a sample of individual poetry; its creator is Ji-fu, one of the first authors in the history of Chinese poetry. Song Gao, being, first of all, a piece of court poetry (and the origins of individual, author's poetry should be sought precisely in court poetry), is intended to glorify the chief of Shen; in this regard the last, eighth, stanza is particularly noteworthy: its final four lines — the last quatrain of the ode — represent a small message, in which, nevertheless, all the main signs of the literary mes- sage 赠 are already present, namely the addressee, the word of the lyrical subject addressed to the interlocutor, i. e. addressee, the communicative situation, and even the poetic motive of a gift. Our analysis of the last stanza confirms the initial assumption: literary message as a genre has its roots in Shijing, where the foundations were laid for the further formation and development of the genre along the following line: gift — address(ing) — message. Although message zeng in the form in which it appears in Shijing is still a part of a literary work of a completely different genre (ode), it will not be long before it becomes a separate genre form. Keywords: Shijing, The Book of Songs, Literary Message, Ji-fu 吉甫 , Zeng 赠 . Sun Weiwei (Pu Songling Museum), yifan-zb@163.com The Absent Father — In Pu Songling’s Poems of Sending Home Later generations of researchers tend to focus on the artistic accomplishments of Liaozhai Zhiyi and its associated studies, while paying relatively less attention to Pu Songling's poetry. Despite the existence