Regarding school education in the Zhou Dynasty, the surviving documents such as "Zhou Li", "Da Dai Li" and "Li Ji" have been recorded, and the inscriptions unearthed such as the Western Zhou Kang Dynasty Instrument "Da Lu Ding", "Shi Tang Ding", "Zuo Shu Mai Fang Zun" and the Mu Wang Shi Instrument "Jing Gui" are also recorded, and the predecessors have done a lot of research, especially Yang Kuan's "Noble Education and Important Etiquette System of the Zhou Dynasty" discusses the Western Zhou school in the most detailed preparation, and it is not intended to be repeated here.
Ten Lectures on the History of the Pre-Qin Dynasty
We would just like to emphasize that the Western Zhou School is an aristocratic school, divided into primary schools and universities, "liturgy, music, archery, imperial, book, number" is the basic content of school education, and "lile" is its core, the purpose is to cultivate for the country the builders and successors of the ruling class who understand the culture of lile music, maintain the system of liturgical music, and have the spirit of liturgical music.
Zhou Gong's "making music" not only established a complete gagaku system different from that of Yin Shang, but also established the most complete "music teaching" system in three generations, which is an important part of Zhou ren's school education. Of course, we still lack first-hand information on school education and specific "music education" in the Zhou Gong period, but through the excavation of Western Zhou Yi inscriptions and documents passed down from generation to generation, we can still infer the school education status of the Zhou Gong period and the status of "music education" in it.
Because of the continuity of education in the Western Zhou Dynasty, the perfection of the liturgical music system in the middle of the Western Zhou Dynasty was initiated from the founding of the system at the beginning of the Zhou Dynasty. Although the Zhou Li was edited by later generations, "the social system, class relations, and land planning in the Zhou Li were all made according to the class foundations of the Western Zhou Dynasty, and these foundations gradually disappeared after the Spring and Autumn Period, and no one could forge them."
The Duke of Zhou was the main ruler after the founding of the Western Zhou Dynasty, and he was also a great thinker and statesman, who created various canonical systems based on the transformation of the 'field system' into well fields according to the 'field system', and with the tradition of the Zhou people itself, he had great courage to 'establish a great system of this huge dynasty'" [1].
Ji Wenzi of the Lu family, a descendant of the Duke of Zhou, once said: "The Zhou Li of the Zhou Dynasty of the Zhou Dynasty once said: 'Then treat things with virtue, treat things with virtue, do things with merit, and do things with merit. [2] It proves that the nobles of the State of Lu in the middle of the Spring and Autumn Period were still familiar with the Zhou Li. Therefore, we say that there are remnants of the Zhou Gong's system of "making rituals and making music" in the Zhou Li, which is fully based, and the excavated documents have strongly proved this. [3]
"Zhou Li Justice"
Western Zhou education is divided into two stages, primary school and university, teaching different educational contents and adopting different teaching methods, which are run by officials with specialized knowledge.
In the early years of the Qing Dynasty, the inscription "Da Lu Ding" unearthed in LiCun, Yi County, Shaanxi Province, records that King Kang of Zhou ordered the sons of nobles to enter the Guiguan Primary School[4], while the "Album of Works" records that Prince Kang led his courtiers to hold a big ceremony and practice shooting at the university (Peiyong).[5]
"Li Ji Nei Ze" Yun: Noble men "ten years, out of the outside, live outside, study books." Dressed in rags, the ceremony is handsome. Learn young children day and night, please forgive me. For three years, he learned music, recited poems, and danced "Spoon". Become a child, dance "Elephant", learn to shoot the Emperor. Twenty and crowned, the first ceremony, can be dressed in fur, dance "Bactria"" [6]. It also proves that the imperial court has institutional arrangements for the education of the children of the nobility, and its teaching content and teaching methods vary according to the different school years.
According to the Zhou Li Di Guan Situ, the Great Situ "Therefore, the people of the Five Things (mountains, forests, rivers, hills, graves, and yuanyi - the introducer) often give ten teachings: one is to teach respect with rituals, then the people are not scrupulous; the second is to teach with yang etiquette, then the people do not argue; the third is to teach relatives with yin etiquette, then the people do not complain; the fourth is to teach peace with music, then the people are not obedient... The three things of the township teach the people and be happy: one is the six virtues - knowledge, benevolence, holiness, righteousness, loyalty, and harmony; the second is the six elements - filial piety, friendship, harmony, consecration, ren, and compassion; and the third is the six arts - ritual, music, shooting, imperial, book, and number. [7] That is to say, although "music education" is not the only content in the national education arrangement, it is also one of the important contents of the national education system.
"Zhou Li Notes"
In order to let the children of the nobles master the relevant knowledge of "music teaching", Zhou Ren established a huge team of musicians and gradually formed a meticulous professional division of labor. According to the Zhou Li Chunguan Zongbo Yun:
The Great Si Le palms the jun of the Jun, in order to govern the study and government of the founding of the country, and the sons of the United Nations. Whoever has the Word, and whoever has virtue, makes the Teachings enlightened. When he dies, he thinks that he is happy to be an ancestor and sacrifices to the Emperor. Teach guozi in music: Zhong, He, Qi, Yong, filial piety, and friendship; teach Guozi in music: Xing, Dao, irony, recitation, speech, and language; teach Guozi with music and dance: dance "Cloud Gate", "Big Scroll", "DaXian", "Daxia", "Dahao", "Dawu". With the six laws, the six tongs, the five voices, the eight tones, and the six dances of the great harmony, so that the ghosts and gods show, to harmonize with the kingdom, to harmonize with the people, to reassure the guests, to speak of distant people, to be animals. [8]
The musician is in charge of the politics of Guoxue to teach Guozi a small dance. Where there is dance, there is a dance, there is a feather dance, there is an imperial dance, there is a dance, there is a dance, there is a dance. Teaching music ceremony, walking with "Wanton Summer", tending to "Cai Qi". The same goes for cars. The ring worship is based on bells and drums. [9]
The master holds the six laws, the six harmonies with the sound of yin and yang... Teach the six poems: Yue Feng, Yue Fu, Yue Bi, Yue Xing, Yue Ya, and Yue Song. Take the six virtues as the foundation and the six laws as the sound.
The little master teaches the drums and drums and drums. High priest, song and song, down pipe, drum, song. The same goes for the big meal. Great mourning and mourning. Where there are small sacrifices, small pleasures, drums. The festival of the sound of the palm of the six music, and its harmony. [10]
The "music teaching" mentioned here is already quite complete in content, and in addition to the above-mentioned music officials, there are more than 1,600 teachers in the imperial court who carry out "music teaching", such as Daxu, Xiaoxu, Diantong, Gongshi, Zhongshi, Shengshi, Gongshi, Huangren, Zhenzhang, Shuzhang, Jingyun, Dianyong, Sigan, Drummer, Dancer, and Zhen and Zhen.
"Song This Week Etiquette"
Although it cannot be hastily determined whether Zhou Gong has such a complete teaching content and such a huge teaching force when he "makes music", it is certain that there have been clear arrangements for "music teaching" and professional division of labor since Zhou Gong "made music". Although the history says that King Cheng "returned to Feng, composed the Zhou Guan, Xingzheng Lile, and changed the degree system, and the people were harmonious, and the praises were xingxing"[11], that only said that the Zhou Gong's "making ceremonial music" was perfected when he became king, and did not deny the founding merits of the Zhou Gong.
It is worth noting that the "music system" of the Zhou Dynasty was carried out in conjunction with the "etiquette system". Zhou people attach great importance to etiquette, and etiquette is often reflected in musical instruments, musical sounds, musical language, music and dance and other musical instruments, so musicians are in charge of "teaching music instruments".
For example, "When the king comes in and out, (The Great Si le) makes the "Wang Xia" played; when the corpse comes in and out, the "Wild Summer" is played." When the animals come in and out, they play "Zhao Xia". Handsome and dancing. The great feast does not enter the animal, and everything else is like a sacrifice. Big shot, Wang in and out, ling play "Wang Xia". and shooting, making the play of "Donkey Yu". The princes danced with bows and arrows. Wang Dashi, Sanyu, all ordered to play bells and drums. Wang Shi daxian ordered the playing of "Kai Le". ”[12]
"Wherever you shoot, the king takes "Cai Yu" as the festival, the princes take the "Feng Shou" as the festival, the doctor takes the "Cai Li" as the festival, and the shi takes the "Cai Yu" as the festival." [13]
"The musicians of the little things of the kingdom, the (master) who makes the bells and drums... High Priest, Handsome Song, Ling Xiang, Down pipe, Broadcast instrument, Ling Play Drum Shuo. The same goes for the big meal. Big shots, handsome and singing shoots. ”[14]
"Fu Da tasted the zen, sang "Qing Temple", and then managed "Elephant", Zhu Ganyuqi danced "Dawu", and Bayou danced "Great Xia"." [15]
Sun Yi Rang concluded: "The ancient music festival of the fifth, the first golden song, the second ascension song, the second pipe sheng into, the second song, and finally the harmony, the music is dancing, this guest sacrifice of the great music of the constant law also." ”[16]
Compilation of Manuscripts of Sun Yi rang
However, this form of "liturgical music" pursues not sensory stimulation [17], but the education of social thought and culture and the cultivation of the spirit of liturgical music.
The so-called "ancient pleasure is in the temple, and the monarch and the courtiers listen to it together, then they are not harmonious." In the township of the patriarch, the elders and children listen to it together, and they are not at ease. Inside the boudoir, fathers and sons and brothers listen to it together, and they are not in harmony. Therefore, the musicians, judge one to determine the sum, compare things to decorate the knots, and rhythms are combined into texts. Therefore, the father and son of The Harmony are also attached to the people. It is the fang of the first king Lile. Therefore, listening to the voice of his "Ya" and "Ode", his intentions are broad. Insist on their work, learn to lean over and stretch, and look solemn. To do its omens, to its rhythm, the ranks must be correct, and the advance and retreat should be in unison. Therefore, the musician, the destiny of heaven and earth, the era of neutralization, and the unavoidable nature of human feelings"[18], emphasizing the political and religious role and cultural function of "music education" in the social life of the Zhou Dynasty, with special emphasis on emotional edification and spiritual feelings.
The important position of "music education" in the education of the Zhou Dynasty is also reflected in its close connection with the training and selection of officials in the Zhou Dynasty.
The Book of Rites and the Imperial System contains:
Fate on the show, the ascension of the Situ, known as the elected soldier. Situ on the selection of the show, and the ascension of the scholar, known as the handsome man. Those who ascend to Situ do not enlist in the countryside, and those who ascend to scholars do not enlist in Situ. Le Zheng revered the Four Arts, established the Four Teachings, and the Shunxian King's "Poems", "Books", "Rituals", and "Music" to create scholars. Spring and Autumn teach with "Ritual" and "Music", and Winter and Summer with "Poetry" and "Book". The eldest son of the king, the prince, the eldest son of the queen, the concubine of the Qing Dafu and the Yuanshi, and the junxuan of the country are all created.
Where admission to the teeth. Will go out of school, Xiao Xu, Da Xu, Xiao LeZheng, Jian is not handsome to teach the people to sue Da Le Zheng. Dale is telling the king. Wang Ordered the Three Dukes, Jiu Qing, Doctor, and Yuan Shi to enroll. Unchanged, the prince of vision. Unchanged, the king does not lift for three days, the far side of the screen, the west is known as thorn, the east is sent, and the lifelong disdain. Ōraku is talking about the meritocracy of the creators to sue the king, and the ascension to the rank of Sima and the jinshi. Sima debated the official materials, and the sages of the jinshi were told to the king, and their arguments were determined. The argument is then the official, the official is then knighted, and the position is determined and then luzhi. [19]
"Etiquette and Justice"
Judging from this system of training and selecting officials, The music officials of Da Le Zheng (that is, the Big Sile in "Zhou Li"), Xiao Le Zheng (that is, the musicians in "Zhou Li"), Da Xu, and Xiao Xu play a very important role in it, and "music teaching" is actually an important means of cultivating officials, and there is a very strict performance appraisal system, excellent people will be selected and awarded officials, unqualified people will be punished, "far away from the screen", "lifelong disdain".
This kind of institutionalized "music teaching" must be accepted not only by the children of the nobility, but also by the people of the countryside. According to the "Zhou Li, Prefectural Official Situ Dancer", "The dancer is in charge of teaching the soldier dance, the sacrifice of the handsome and dancing mountains and rivers; the sacrifice of the teaching of the dance, the sacrifice of the handsome and dancing society; the sacrifice of teaching the feather dance, the sacrifice of the handsome and dancing in all directions; the pope dance, the handsome and dancing of the dry day." Wherever wild dance is taught. Jia Gongyanshu: "Yun 'teaches the soldier dance', which is to teach the wild man to know." If the state has a sacrificial mountain and river, the dancer will also lead the dancer to the shrine of the dancing mountain and river. It's all down. ”[20]
The "music teaching" for the wild people may not be as systematic and strict as the education of the sons of the country, but it is obvious that the "music education" is implemented in the entire social education system, including the various princely states divided by Zhou Tianzi.
In order to promote the strengthening of "music education" in various princely states, Zhou Chu created the "music giving" system to promote the popularization of "music education". At the beginning of the Zhou Dynasty, King Wu gave Uncle Kang the "Da Lü" and Tang Uncle "Drum of Mishu" and "Gu Wash" and other musical instruments and musicians,[21] and formed the "Music Principle" when the Zhou Gong "made ceremonial music", which was one of the contents of the Zhou Tianzi's "Nine Tins".
Qing KangxiJian inscribed "Notes on the Collected Records of Rites"
The Book of Rites and The Royal System Yun: "The Son of Heaven gives the princes le ze and gives it to the male le, and gives the bo zi male le ze, and the mole will give it." [22] The "musical rules" are a set of musical instruments that conform to the status of the recipient, including musical instruments, music and dance, and musicians, and contain the implications of patriarchal hierarchy and political evaluation.
For example, the descendants of the Duke of Zhou were given the Tianzi Leyi by the Heavenly Son, and as a reward for the special merits of the Duke of Zhou, all the Lu juns of all dynasties could use it, so that in the Spring and Autumn Period, The Wu Gongzi Jizha was hired by Lu, "Please watch Zhou Le", which was amazing. [23]
The Son of Heaven not only gave music to the princes, but also to the Doctors; the princes imitated the Son of Heaven, and sometimes also gave the Pleasures of the Doctors and Scholars, which further expanded the influence of the "Music Teaching".
"Rituals and Township Shooting Ceremonies" "The master takes the knighthood from the basket to offer work, and the master washes it", Zheng Xuan notes: "The king gives the doctor the pleasure, and from it the person, he is called the master." Jia Gongyanshu: "The Heavenly Son, the princes and officials, have masters, young masters, and the masters who are good at making fun." Doctors and non-commissioned officers are not prepared, and they are not suitable for masters. Jun has the method of giving doctors and scholars musical instruments, so the "Spring and Autumn ZuoShi" Yun: Marquis of Jin song Zhong Er, take half to give Wei Dai, Wei Dai then has the music of the golden stone, Li Ye. ”[24]
The Western Zhou Yi inscriptions have records of the Son of Heaven rewarding the doctor with musical instruments and musicians, such as the "Great Keding" records that the King of Zhou Xiao ordered Shanfu Ke and gave him "Shi Xiaochen, 霝, 籥, and drum bell". [25]
Therefore, the "Book of History and Music" Yun: "The Son of Heaven is happy, and the virtuous one who rewards the princes is also." Virtue is exalted and taught, the grain is ripe, and then enjoyed. Therefore, those who govern the people and work hard, their dance rank is far away. Its rulers are short of dance. Therefore, watch its dance and know its virtue, and smell its words and know its deeds. [26] In this way, "music education" is organically unified with social and political governance and cultural construction.
Zhonghua Bookstore Edition of "History"
Although the implementation of "lejiao" in various princely states depends on the importance of the local princes, the supervision of Zhou Tianzi can effectively prevent their slackness or perfunctory.
Zhou set up the post of grand pedestrian, "to hold the ceremony of the great guest and the ceremony of the great guest, to pro-princes ... The reason why the king caress the princes of the state is that the years are all over the world; the age is all over the three years; the five years old is all over the province; the seven years old belongs to the township Xu, the speech, the resignation; the nine years old belongs to the history, the title of the book, listen to the voice; the tenth has one year old, the Day of Darui, the same measure, the prison ceremony, the same number instrument, the cultivation of the law; the tenth has two years old, the king patrols the Yin kingdom" [27].
In addition to regularly inspecting the local princes, Zhou Tianzi also sent large and small pedestrians to inspect various localities to inspect and return to Beijing to report to Zhou Tianzi on the customs and conditions of the people in various localities, including the implementation of the "lejiao": "The interests and interests of all its peoples are one book; the rebellion of its etiquette, political affairs, teaching, and prohibition is a book; its disobedience, riots, and offenses are one book; its mourning, fierce desolation, and poverty are one book; and its recreation, harmony, and peace are one book." Whoever distinguishes these five things from each country, in order to rebel against the king, to know the reasons of the world. ”[28]
Pedestrians provide political education on the current situation of each princely state, in preparation for the son of heaven to understand the national conditions and public opinions of each princely state. The Son of Heaven rewarded and punished the princes according to the various information he had, that is, Confucius's so-called "if there is a way under the heavens, then the lile conquest comes from the Son of Heaven"[29], which ensured the smooth flow of the imperial court decrees and the implementation of the "music religion".
It should be admitted that this kind of top-and-bottom political structure, education system, and Zhou Tianzi's ability to control local forces was not available in the Yin Shang era, and it was easy to understand that there was no systematic institutionalized "music education" at that time.
"Zhou Gong"
The clear idea of "music teaching", the complete "music teaching" system and the effective management of "music teaching" began from Zhou Gong's "system of rituals and music", and through the analysis of the previous article, we can get a positive answer.
This is because, before Zhou Gong, if there was "music teaching", it only meant teaching the use of utensils and the skills of the number of arts, such as how to play the flute, how to beat the chime, how to sing, how to dance, and so on. And this technique mainly serves primitive religions and sacrifices.
For example, the bone flute at the Jiahu site is a burial item, "the owner of the tomb buried with the bone flute is mainly an adult man." It can be speculated that the owners of these tombs may have had a certain special status during their lifetime. They may be the leaders of a tribe or clan, or they may be wizards in a tribe or clan who can communicate between heaven and earth and the gods of man. They are the masters of the bone flute, and perhaps the makers and users of the bone flute."
The "organized dance" on the faience pot belonging to the Yangshao culture excavated from the Sunjiazhai site, the portrait of "the 'hair braid' falling from the head and the 'one' on the side of the lower abdomen are all seen in the following item: the following one is not so much an ornament as an extension or exaggeration of the male yang or yang. From these two points, one doubts that this is not a picture of a purely entertaining dance."
This clay pot is also likely to be a prop for witchcraft, at least reflecting the sorcery of the period. [32] That is to say, the remnants of musical instruments and music and dance materials from prehistoric times are only the exclusive tools of the witches who monopolized primitive religions and sacrifices.
As Zhao Minli said: "In essence, the function of the witch is to communicate between man and god, and song and dance is only a means for it to séance or carry out related witchcraft activities, so we can only say that they were the spiritual producers of that era, not the earliest full-time musicians." ”[33]
Studies on Ancient Chinese Songs and Poems
If it is said that there will inevitably be a de facto teaching relationship of vocal music, instrumental music, song and dance and other skills in the WuYi group, it is only the transfer of the power of "Tongtian" within Wuyi and the inheritance of "Tongtian" means, not for the cultural education of the entire society, let alone the "music education" as later generations call it.
Although the educational relationship here exists objectively, and a tradition has been formed within the WuYi Group, it is very obvious that it is only the tradition of "witchcraft" and not the tradition of "music education" in China. From this point of view, Liu Shipei's view that "music teaching" already existed in ancient times is debatable.
The institutional liturgical culture and "music education" system formed by the Zhou Gong's "making ceremonies and making music" not only standardize people's social behavior and maintain the blood relationship between the Son of Heaven and the princes, but also subtly transform into a social ideology that guides people's spiritual and cultural life.
The establishment of Lile culture ended the deep-rooted influence of Wuyi culture on Chinese society and ushered in a new era of Chinese culture with humanism as the core. As Zhang Guangzhi puts it: "The nine hundred years of Zhou Dynasty rule ushered in an exciting new era, during which all aspects of Chinese civilization underwent some fundamental changes in all aspects of Chinese civilization throughout China, which culminated in the end of the formation of ancient China and the beginning of the Chinese Empire and its traditional style that lasted until 2000." ”[34]
Archaeology of Ancient China
Although the Spring and Autumn Period "Li Li Collapsed and Bad", the influence of Li Le culture did not fundamentally fade, and after the interpretation and promotion of pre-Qin Confucian scholars represented by Confucius, the essence of Li Le culture was carried forward and became the core connotation of Chinese cultural traditions, affecting the development of all aspects of China later. [35]
However, it should also be pointed out that after Emperor Wudi of the Han Dynasty "deposed a hundred families and respected Confucianism alone", "etiquette" was highly valued, but "music teaching" gradually shrank, so that posterity mistakenly thought that traditional Chinese culture was "etiquette culture", called China "the state of etiquette", regarded Confucian education as "etiquette", and the meaning and value of "music teaching" were distorted, and gradually became a tool for ceremonial services and sensory stimulation.
"Hanshu Yiwenzhi" Yun: "Since filial piety and martial arts have been collected and songs have been collected, so there are generations, Zhao Zhizhi, Qin and Chu Zhifeng, all of whom feel mournful, and when they are born, they can also observe customs and know thin clouds." [36] Although the imperial court Lefu during emperor Wu's period still had the meaning of "observing customs and knowing the thin and thick", it was no longer the same as that of the music officials and "music teachings" in the Western Zhou Dynasty.
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[1] Yang Xiangkui, "Zongzhou Society and Lile Civilization", vol. II, "Lile Civilization of Zongzhou", Second, "The Processing and Transformation of Etiquette by Zhou Gong", Beijing: People's Publishing House, 1992 edition, p. 290.
[2] Du Pre-Notes, Kong Yingda Shu: "Spring and Autumn Left Transmission of Justice", vol. 20, "Eighteen Years of Wen Gong", Thirteen Commentaries on the Thirteen Classics, p. 1861.
[3] It is disputed who and when the Zhou Li was composed. One said to be from the Duke of Zhou, the other said to be in the Warring States, both have difficulties in self-rounding. Kang Youwei's "Examination of the New Study of Apocryphal Scriptures" says that it was forged by Liu Xin in the last years of the Western Han Dynasty, and Qian Mu's "Annals of Liu Xiangxin's Father and Son" negates Kang's theory. In recent years, archaeological materials have been frequently produced, and Zhang Yachu and Liu Yu have compared the nearly 900 official materials of the Western Zhou bronze inscriptions with the Zhou Li, believing that "the Zhou Li is quite consistent or similar to the Western Zhou official system reflected in the Western Zhou inscriptions in the main content." (See "Research on the Official System of Western Zhou Jin", Zhonghua Bookstore, 1986 edition) Li Xueqin, through the study of the Qiu Wei bronze inscription excavated in 1975 in Dongjia Village, Xiqishan, Shaanxi Province, believes that Qiu Shi is the Western Zhou Siqiu, "The confirmation of the Siqiu Zhi palm undoubtedly shows the authenticity of the Zhou Li", because "the official name of Siqiu is only found in the Zhou Li, and no other ancient book is available." (The book "Zhou Li from Jin Wen", "Searching for Roots", No. 2, 1996) It can be seen that the "Outline of the General Catalogue of the Four Libraries" states that "the book of Zhou Li is not complete in the original text, rather than relying on it, and can be seen in general", and the conclusion is the most secure. This article carefully selects the credible material of the Zhou Li as an argument.
[4] Ma Chengyuan, Ancient Chinese Bronze Ware, 3 Bronze Ceremonial Vessels, Musical Instruments and Other Utensils, Shanghai: Shanghai People's Publishing House, 2016, p. 85.
[5] Wang Hui, Shang Zhou Jinwen, Beijing: Cultural Relics Publishing House, 2006, p. 75.
[6] Zheng Xuan's Notes, Kong Yingda Shu: The Book of Rites and Justice, vol. 28, "Nei Ze", Thirteen Commentaries on the Thirteen Classics, p. 1471.
[7] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 10, "Diguan Da Situ", Thirteen Commentaries on the Thirteen Classics, pp. 703-707.
[8] Zheng Xuan's Commentary, Jia GongyanShu: Zhou Li Zhushu, vol. 22, Chunguan Zongbo Dasi Le, Thirteen Commentaries on the Thirteen Classics, pp. 787-788.
[9] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 23, Chunguan Zongbo Musician, Thirteen Commentaries on the Thirteen Classics, p. 793.
[10] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Notes, vol. 23, Chunguan Zongbo Master, Thirteen Commentaries on the Thirteen Classics, pp. 795-797.
[11] By Sima Qian, Pei Hua Ji Xie, and Zhang Shoujie Zhengyi: Records of History, vol. 4, Zhou Benji, Twenty-five Histories, p. 18.
[12] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 22, Chunguan Zongbo Dasi Le, Thirteen Commentaries on the Thirteen Classics, pp. 790-791.
[13] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 23, Chunguan Zongbo Musician, Thirteen Commentaries on the Thirteen Classics, p. 793.
[14] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 23, Chunguan Zongbo Master, Thirteen Commentaries on the Thirteen Classics, p. 796.
[15] Zheng Xuan's Notes, Kong Yingda Shu: The Book of Rites and Justice, vol. 49, "Sacrifice System", Thirteen Commentaries on the Thirteen Classics, p. 1607.
[16] Sun Yirang: Zhou Li Zhengyi, vol. 42, Chunguan Dasile, p. 1732.
[17] After the Western Zhou Dynasty, the "collapse of rituals and pleasures" was the result of the aristocratic rulers' pursuit of sensory stimulation and covetousness, which was exactly compared with the Creation of the Zhou Dynasty.
[18] Zheng Xuan's Notes, Kong Yingda Shu: The Book of Rites and Justice, vol. 37, The Book of Music, Thirteen Commentaries on the Thirteen Classics, p. 1545.
[19] Zheng Xuan's Notes, Kong Yingda Shu: The Book of Rites and Justice, vol. XIII, "The Royal System", Thirteen Commentaries on the Thirteen Classics, pp. 1342-1344.
[20] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. XII, "Diguan Situ Dancer", Thirteen Commentaries on the Thirteen Classics, p. 721.
[21] Du Pre-Notes, Kong Yingda Shu: "Spring and Autumn Left Transmission Commentaries", vol. 54", "Dinggong Four Years", "Thirteen Commentaries on the Thirteen Classics", pp. 2134-2135.
[22] Zheng Xuan's Notes, Kong Yingda Shu: The Book of Rites and Justice, vol. XII, "The Royal System", Thirteen Commentaries on the Thirteen Classics, p. 1332. "Le Ze" belongs to one of the "Nine Tins" of the Son of Heaven, and the "Nine Tins" is the "Nine Gifts". Although the specific content of "Nine Tin" has different meanings, they all have "music rules", such as "Five Yue Le Rules" in the "Biography of the Ram", "Li Wei Han Wen Jia" says "Three Yue Le Rules", and "Han Shi Wai Biography" says "Four Tin Musical Instruments". The Commentary on the Thirteen Classics originally disconnected the word "Leze" and "then" was subordinate, wrong.
[23] Du Pre-Notes, Kong Yingda Shu: Spring and Autumn Left Transmission Commentaries, vol. 39, "Xianggong Twenty-Nine Years", Thirteen Commentaries on the Thirteen Classics, pp. 2006-2007.
[24] Zheng Xuan's Notes, Jia Gongyan Shu: Notes on ritual rites, vol. 11, "Xiang Shooting Rituals", Thirteen Commentaries on the Thirteen Classics, p. 996.
[25] Ma Chengyuan, Ancient Chinese Bronze Ware, III. Bronze Ceremonial Vessels, Musical Instruments and Other Utensils, p. 104.
[26] Sima Qian, Pei Hua Ji Xie, Zhang Shoujie Zhengyi: Records of History, vol. 24, Book of Music, Twenty-five Histories, p. 158.
[27] Zheng Xuan's Notes, Jia Gongyan Shu, Zhou Li Zhu Shu, vol. 37, Qiu Wei Si Kou Da XingRen, Thirteen Commentaries on the Thirteen Classics, pp. 890-892.
[28] Zheng Xuan's Notes, Jia Gongyan Shu: Zhou Li Zhu Shu, vol. 37, Qiu Li Si Kou Xiao Xingxing, Thirteen Commentaries on the Thirteen Classics, p. 894.
[29] He Yan Ji Xie, Xing Fu Shu: Analects of commentaries, vol. 16, Ji Shi, Thirteen Commentaries on the Thirteen Classics, p. 2521.
[30] Wang Zichu: The Archaeology of Music, p. 32.
[31] Zhang Guangzhi, "WuYi Materials of Yangshao Culture", originally published in the 64th volume of the Collected Works of the Institute of History and Linguistics of academia sinica (1994), included in the Collected Papers on Chinese Archaeology, Beijing: Life, Reading, and Xinzhi Sanlian Bookstore, 2013 edition, p. 135.
[32] Zhang Guangzhi believes that in the society of Yangshao culture, "the task of witches is to reach the heavens and the earth, that is, to understand people and gods, and the existing evidence says that wizards are men" and that "the work of wizards includes dancing." Wizards' equipment includes amberjacks, braids (or serpentines on their heads), and phallus accessories." (He is the author of "Collected Papers on Chinese Archaeology: WuYi Materials of Yangshao Culture", p. 147.) ）
[33] Zhao Minli, Studies on Ancient Chinese Poetry: A History of Artistic Production from the Book of Poetry to the Yuanqu, Beijing: Peking University Press, 2005, p. 17.
[34] Zhang Guangzhi, Archaeology of Ancient China, Chapter 6, The Earliest Civilizations: Xia, Shang, and Zhou, Beijing: Life, Reading, and Xinzhi Sanlian Bookstore, 2013, p. 404.
[35] See Humble Work, "On the Happy Spirit of Zhou Dynasty Lile Culture: From the Perspective of Pre-Qin Confucian Interpretation", Journal of Tsinghua University (Philosophy and Social Sciences Edition), No. 2, 2018.
[36] Ban Gu: Book of Han, vol. 30, Yiwen Zhi, Twenty-Five Histories, pp. 531-532.