Study On The Relativity Of Xiong Li And Music Prohibition In Song Dynasty

Xiong Li is the etiquette system related to murderous funerals in the ancient ritual system,which predates the pre-Qin period to provide for prohibition of music.The Song Dynasty followed the pre-Qin ritual tradition,with the customization of forbidden music in Xiong Li.However,the provisions of the Song Dynasty’s prohibition of music have a certain complexity,not blindly abstaining from music,but showing a relative characteristic.Starting from the perspective of the relativity of forbidden music,the article discusses the content of the relativity of forbidden music in Xiong Li of Song Dynasty,and explores the reasons for the relativity of forbidden music,which is divided into four chapters for discussion:The first chapter sorts out the context of the development of Xiong Li from the pre-Qin to the Song dynasty,and proposes that the relativity of the murderous rituals and abstinence in the Song Dynasty is reflected in two aspects: on the one hand,there is a choice of the content of the ritual system that needs to take abstinence measures and the mourning population,so the temporal and spatial scope of the prohibition is different,that is,the relativity of the temporal and spatial range of the Xiong Li;On the other hand,the phenomenon of using pleasure has appeared at the same time in some ritual systems that require abstinence,that is,the relativity of abstinence and use of music in Xiong Li.The second chapter discusses the relativity of the temporal and spatial scope of forbidden music,which is divided into three parts: the prohibition of the funeral ceremony,the emperor’s withdrawal of officials from the dynasty,and the forbidden music of disasters.The choice of abstinence in the Song Dynasty was actually the embodiment of the strict feudal hierarchy,with the Son of Heaven as the center among individual members and the capital as the center in the region,forming a "circle" that spread outward,the closer to the center,the greater the constraint by forbidden music,and the more marginal it was constrained by forbidden music,the smaller it was constrained by forbidden music.The special form of music during the abstinence period makes Xiong Li present the relativity of abstinence and pleasure.The third chapter explores these special forms of music,namely music and dance and propaganda in official funerals,elegy,the use of special musical instruments,other ceremonial music,and folk funeral music.Chapter 4 explores the causes of these two relativities.In addition to social hierarchy and region,the reasons for the difference in the temporal and spatial scope of abstinence are also related to political factors.The special forms of pleasure that appear in the ritual vary depending on the situation.Official funeral music is in accordance with the ceremonial system,with the nature of sacrifice and the connotation of sorrow;The use of funeral music in folk funerals has been repeatedly banned,which is related to the social customs and ideological concepts of the time.