The national ritual and music organs were the earliest reference to the concept of "Yuefu", and this connotation was still used until the end of the Qing Dynasty. The Han and Tang dynasties were prosperous dynasties in Chinese history, and they were also the most glorious periods for the construction and development of Yuefu. In the development and evolution process from Han to Tang, Yuefu art has an undeniable significance for the sedimentation and composition of Chinese culture, and the political and philosophical ideas contained therein are also worth our attention. The ritual function of Yuefu: The worship of suburban temples with the same structure of heaven and man is the focus of the construction of Yuefu in various dynasties. Yuefu was first established in the Qin Dynasty and continued to be used in the early Han Dynasty. It was commonly used in the imperial palace in China and Japan. Later, due to the need for Emperor Wu of Han to strengthen centralization, he reformed the suburban ritual and appointed Yuefu to "collect poetry and recite at night". As a result, Yuefu had the authority to participate in the highest level of national ritual activities. Suburb worshippers worship the heavens, earth, sun, moon, mountains, rivers, and other natural gods. Temple worshippers, worshipping ancestral gods. The ritual of offering sacrifices originated from the ancient people's reverence for nature, exploring the channels of communication between humans and nature, namely humans and gods. In the 13th year of Chenggong in the Zuo Zhuan, the words of Duke Liu Kang are recorded: "The great events of the country are the worship and military service, the worship and military service are held, the military service is inspected, and the great festival of gods is also held." The "Records of Suburb Sacrifice in the Book of Han" also states: "The worshippers, therefore, show filial piety to their ancestors and communicate with the gods." The establishment and functional evolution of the Yuefu department in the Qin and Han dynasties were directly related to the evolution of the sacrificial system during this period. Emperor Wu of Han expanded the Yuefu and improved political abilities through religious and artistic forms, reconstructing the lineage of popular deity beliefs in various regions since the Warring States period. It surpasses the gods with the "Tai Yi God" believed by the Chu people for generations, demonstrating the authority of "Tai Yi" and symbolizing the supremacy of monarchy. At the same time, the Heavenly God "Taiyi" collaborated with the Earth God "Houtu" and various deities, together with the worshippers, to construct the concept of the integration of "Heaven, Earth, and Man". The Han suburban sacrificial song "Wei Tai Yuan" sings: "Wei Tai Yuan is revered, and the old woman god, Fan Li, has the longitude and latitude of heaven and earth, forming four seasons." Tai Yuan, also known as the Tai One God. Goddess of God, also God of Earth. The movement of heaven and earth has its own laws, 'Yin and Yang, five elements, cycle and repeat'. In addition to praying for blessings, longevity, and praising virtues, the Han suburban worship of gods also constantly reveals a perception of the natural way of heaven. The songs "Qingyang", "Zhuming", "Xihao", and "Xuanming" were widely circulated during the Han Dynasty to welcome the current atmosphere. They were consecrated successively by the Eastern Qing Emperor, the Southern Red Emperor, the Western White Emperor, and the Northern Black Emperor, each with four seasons of spring, summer, autumn, and winter. The four music songs, with spring birth, long summer, autumn harvest, and winter storage as their main themes, represent ancient people's understanding of the natural solar terms and their changing patterns. The worshippers strive to construct the most harmonious symbiotic relationship between humans and nature by praising the typical scenery of the corresponding season. Respecting nature, respecting nature, and constructing a positive interaction between humans and nature, which is reflected in the concept of isomorphism between heaven and humans in sacrificial ceremonies, also has reference significance for the construction of contemporary ecological civilization. Based on the concept of isomorphism between heaven and man, and the unity of heaven, law, and humanity, the production of music in Yuefu often incorporates the knowledge and beliefs of humans in the five elements, astronomy, and numerology at that time. The Han suburban sacrificial song "Emperor Lin" states: "The Qing Dynasty and the Six Harmonies make the number five." Xie Zhuang of the Southern Dynasty created the "Ming Tang Song": "According to the number of five elements, the number of wood is three, the number of fire is seven, the number of earth is five, the number of gold is nine, and the number of water is six