The culture of ritual and music is an important component of Chinese civilization and the core content of traditional Chinese culture. Among them, "ritual" is an important principle and practical system for establishing social group order, which runs through various aspects such as traditional concepts, ethics, customs, and systems. Music "is a natural appeal and artistic expression derived from people's inner emotions, mainly manifested in ancient and elegant music that embodies the meaning of benevolence in practice. The combination of "music" and "ritual" is essential and complementary, together forming the foundation of the Chinese ritual and music system. The Han and Tang dynasties were a crucial stage in the development of China's ritual system. The development of ritual music during this period not only demonstrated the charm of traditional Chinese aesthetics, but also served as an important historical witness to the inheritance and development of Chinese ritual music culture. The Book of Rites and the Book of Music states, "Music is unified, while ritual distinguishes differences. 'Joy' is an indispensable aspect of 'ritual', and together they form the two sides of 'harmony'. In the pre Qin period, "li" was "li" and "le" was "jie", mutually reinforcing and achieving the goal of not being "simple" or "biased". The idealized political blueprint established on the basis of the ritual and music system is described in the "Book of Rites - Book of Music": "Rites are based on the Tao's aspirations, music is based on their voices, politics is based on their actions, and punishment is based on preventing their treachery. Rites, music, punishment, and politics are extremely consistent. Therefore, governing the Tao with the people's hearts has a profound influence on later generations. Zheng Qiao of the Song Dynasty summarized: "The combination of ritual and music should be used. Ritual and music cannot be performed without music, and music should not be performed without ritual." The Han and Tang dynasties were an important stage in the development of ritual and music culture. Chinese civilization moved towards openness and inclusiveness through collision and integration with the outside world, but also faced many unprecedented challenges. The system of ritual and music has taken on a new appearance, and the culture of ritual and music has been endowed with richer connotations. Among the various remains and cultural relics currently observed in archaeology, musical instruments, as well as images and decorations used to depict musical scenes, are an important category, commonly referred to as "musical relics" in academia. These musical relics are physical materials that complement music literature. They not only provide a basis for verifying ancient music, but also help us to glimpse the spiritual characteristics of ritual and music culture. In the pre Qin period, the core of "ritual" was the clan system and hierarchy, and the "music" under the framework of ritual system was manifested as a combination of music hanging around large bells and chimes as the core. The vivid description of it is that 'gold and stone move, silk and bamboo move'. With the unification and development of the Qin and Han dynasties, especially the comprehensive implementation of the prefecture and county system after Emperor Wu of Han, the feudal system and the patriarchal system began to crumble, and the "music bell system" also declined. However, the concept of ritual and music has deeply influenced the shaping of national spirit and the establishment of social order. By combing through the Book of Rites and the Book of Music, it can be found that music has both political and social functions, as well as entertainment functions in itself. These three functions are not only the starting point for the connection between "music" and "ritual", but also the starting point for shaping ritual and music symbols during the Han and Tang dynasties. In the pre Qin period, the music hanging combination centered on chimes and chimes was a manifestation of the political and social functions of music. This music combination transformed into drum music during the Han and Tang dynasties with political and social changes. 'Drumming' was originally a general term for music, originating from the Han Dynasty's' Huangmen Drumming 'and' Short Flute Song '. During the Wei, Jin, and Sixteen Kingdoms period, the concept of "drum music" began to diverge. Influenced by militarization, this music form incorporates the meaning of "achieving success and enjoying music", thus forming "military music promotion". It gradually becomes a symbol of rank and status due to its connotations such as "husband's achievements in all directions", "favor and love", "music of offering achievements", etc., thus forming "halogen book promotion". The two types of propaganda gradually merged in the late Northern Wei Dynasty and formed a custom during the Sui and Tang Dynasties, with the official setting up a propaganda office for management. In musical relics, drum music is often presented in the form of murals or pottery figurines, used in military celebratory songs or travel books. Musicians ride horses or walk forward, playing instruments such as festival drums, gongs, panpipes, cymbals, and horns, showcasing their high social status and majestic military appearance with great momentum. The tone of ritual and music established in the Book of Rites, which is to integrate the world with ritual and music, to produce a hundred things, to serve ghosts and gods, to harmonize the people, and to create a hundred things, was further developed after the Qin and Han dynasties. Among them, the important social function of music is to unite human relationships and maintain social order. The Yan music themes of various murals and pottery figurines in music relics are concrete manifestations of this function. Yan music originated from the Book of Rites, which can be used for worshiping ghosts and gods, entertaining lords and guests. During the Han, Wei, Southern and Northern Dynasties, the name "Yan music" had long been abolished, and there was no specific name for the music of banquets in the palace. In the early Sui and Tang dynasties, rulers continued the tradition of "Zhou Li" and re established the name "Yan Yue". Unlike drum music, which is used to identify levels and identities, Yan music does not use levels or identities as boundaries, which largely reflects its social function of "positive handover" and "ethical communication". The Yan music in the musical relics from the pre Qin period to the Han Dynasty often revolves around bells and chimes as the core, with basic combinations of instruments such as drums, gongs, qin, se, flute, xiao, etc. The basic dance forms are long sleeved dance and pan drum dance. These contents were selectively inherited since the Wei and Jin dynasties. Among them, the four dances of "ge", "duo", "jin", and "fu", which were considered as "miscellaneous dances" in Han Dynasty banquets, were preserved as "ancient traditions" and further symbolized during the Sui and Tang dynasties, becoming classic images of Yan music dancers. During the period from the Sixteen Kingdoms to the Southern and Northern Dynasties, with the establishment of the Hu ethnic regime, "Hu music" became a popular trend, and instruments originating from outside the region were also introduced and popularized. The images of Hu Teng dance, Hu Xuan dance, Zhezhi dance, and "rebounding pipa" in dance have also replaced the images of Han Dynasty dancers who were skilled in long sleeves and dance, becoming the symbols of music and dance groups during this period. This also reflects the further inclusiveness and openness of ritual and music culture in the Sui and Tang dynasties. In the music relics of the Han and Tang dynasties, there is also a type of image of high school musicians playing music that is used to express the social function of music. They often appear in tomb portrait stones, portrait bricks, or various decorative objects. During the Han Dynasty, these high-ranking officials were mostly historical figures used to demonstrate the ethical and moral concepts of Confucianism. During the Eastern Han Dynasty, the image of high officials was often depicted as that of immortals. During the Wei and Jin dynasties, the image of a musician often appeared, which was related to the reconstruction of the ritual and music system and the rise of the concept of elegance and vulgarity in ritual and music culture at that time. The instruments played by the literati, such as guqin, ruan xian, sheng, se, etc., are also endowed with elegant and extraordinary moral significance. In addition to its political and social functions, music also has its own entertainment function. In the music relics of the Han and Tang dynasties, Bai Xi and San Le are vivid manifestations of entertainment functions. Baixi mostly refers to the entertainment music and dance of the Han and Wei dynasties, mainly based on acrobatics and haiku. Due to its diverse forms, it has its own name. In musical relics, Bai Xi is mainly expressed in the form of tomb murals, tomb portrait stones, portrait brick images, and combinations of tomb pottery figurines. The "Hundred Plays" of the Han and Wei dynasties are known as "San Le" in Tang Dynasty classics. The original meaning of sanle is the music of the four barbarians recorded in the Book of Rites, which is opposite to the "elegant music" of the royal capital. During the Han and Tang dynasties, with the introduction of Hu music into China and the construction of the concept of elegance and vulgarity in ritual and music culture, the classification criteria for music in the ritual and music system gradually changed. "San Le" replaced "Bai Xi" as a specialized term for entertainment music and dance, and was often depicted in tomb murals. During the mid to late Tang Dynasty to the Five Dynasties and Ten Kingdoms period, under the top-down promotion of the government, scattered music underwent a transformation from "miscellaneous music" to "court music". During the Liao and Song dynasties, with the rise of popular culture, "sanle" returned to the folk and became the precursor to Jin and Yuan dynasty sanqu and zaju. In addition, there are also many musical elements in the murals and sculptures of Buddhist grotto temples or temple remains, as well as in scenes related to Buddhist rituals. These pieces of music are not necessarily related to religious rituals, and a considerable portion of them originate from folk music, which is a connection between folk music and religious rituals. The inheritance and development of Han and Tang music relics reflect the historical changes in the concept of ritual and music. The Book of Rites, Book of Music, records: "Music is the same, while ritual is different. If they are the same, they will be close; if they are different, they will respect each other. If music wins, they will flow; if ritual wins, they will be separated. If they match their appearance, then the matter of ritual and music is also the same. If ritual and righteousness are established, then the hierarchy is equal. If music and literature are the same, then the upper and lower levels will be harmonious." At the political level, the role of music as a link from "music" to "achievement" is advocated, and the essence of "ritual" indicating the hierarchy is reflected in the external form of music. On a social level, Yan music embodies the meaning of "music" promoting unity and affinity between the upper and lower levels through banquet forms. Incorporating music into banquets is also driven by the intrinsic purpose of "benefiting the people" and "changing customs and traditions". This is actually using the social function of music to create a harmonious atmosphere in order to maintain social order. The multiple functions of music are also combined with the governing philosophy of rulers. As the saying goes, 'the way of culture and martial arts is to balance tension and relaxation.' Music is not only a means for rulers to demonstrate the way of culture and martial arts, but also has a dual connotation of 'playing joy' and 'playing anger'. The Book of Rites, Book of Music "records:" For those who enjoy music, the reason why the former king played joy. For those who play swords in the military, the reason why the former king played anger. Therefore, the joy and anger of the former king can all be attributed to their friends. Joy brings peace to the world, while anger brings fear to those who rebel. The way of the former king is that ritual and music are flourishing. "During the Northern and Southern Dynasties, the political and social order was established through music practice based on the Zhou Rites and the Book of Rites, Book of Music, in the construction of ritual and music. Among them, it is a common choice to establish a symbol of political order by promoting honor guard, in order to achieve the effect of "dressing up anger". However, the symbol of establishing social order in what form, namely "embellishment", reflects different governance concepts. Among them, the Northern Dynasties continued the tradition of the Han and Wei dynasties, combining banquets with music to create a harmonious social landscape through lively and orderly Yan music scenes. The Southern Dynasty abandoned Yan music and chose the image of high school musicians represented by the "Seven Sages of the Bamboo Grove and the Glorious Qi Period". Ji Kang, as the leader of the Seven Sages, appeared in the image of playing the qin. He believed that "changing customs and traditions" was necessary after the decline, and praised "the ruler is calm above, and the subjects are obedient below". The Rongqi period, which crossed the era and was "grafted" in, also appeared in the image of playing the qin. Its legendary "three joys" were infused with distinct Confucian ethical concepts. These character portraits reflect the different understanding of "harmony" between the Southern Dynasty and the Northern Dynasty regime on the basis of affirming the mainstream Confucian values, and are another expression of the governance philosophy of "harmony in diversity". The concept of 'harmony between sound and politics' is the fundamental idea of traditional Chinese ritual and music culture. Compared to personal preferences or aesthetic needs, the ritual and music concepts reflected in musical relics are more related to the constraints and requirements at different levels in practice. From the Zhou Dynasty to the Han and Tang Dynasties, although there were ups and downs in the culture of ritual and music, its inheritance was not complete, profoundly demonstrating the continuity and unity of Chinese civilization; In the musical practices exhibited by Han and Tang music relics, there is both integration and development, vividly reflecting the innovation, inclusiveness, and peace of Chinese civilization. It can be said that the culture of ritual and music is based on the practice of music as its image source, and the development of ritual and music concepts as its internal driving force. Its inheritance and development process is also an important manifestation of the prominent characteristics of Chinese civilization. (New Society)