Society during the Song Dynasty

The Song dynasty was an era of administrative sophistication and complex social organization. Some of the largest cities in the world were found in China during this period (Kaifeng and Hangzhou had populations of over a million). People enjoyed various social clubs and entertainment in the cities, and there were many schools and temples to provide the people with education and religious services. The Song government supported social welfare programs, including the establishment of retirement homes, public clinics, and paupers’ graveyards. The Song dynasty supported a widespread postal service, modeled on the earlier Han dynasty (202 BCE–CE 220) postal system, to provide swift communication throughout the empire. The central government employed thousands of postal workers of various ranks to provide service for post offices and larger postal stations. In rural areas, farming peasants either owned their own plots of land, paid rents as tenant farmers, or were serfs on large estates.

Women in the Song Dynasty

Although women were on a lower social tier than men (according to Confucian ethics), they enjoyed many social and legal privileges and wielded considerable power at home and in their own small businesses. As Song society became more and more prosperous and parents on the bride’s side of the family provided larger dowries for her marriage, women naturally gained many new legal rights in the ownership of property. Under certain circumstances, an unmarried daughter without brothers, or a surviving mother without sons, could inherit one-half of her father’s share of undivided family property. There were many notable and well-educated women, and it was a common practice for women to educate their sons during their earliest youth. The mother of the scientist, general, diplomat, and statesman Shen Kuo taught him essentials of military strategy. There were also exceptional women writers and poets such as Li Qingzhao (1084–1151), who became famous even in her lifetime.

Men dominated the public sphere, while affluent wives spent most of their time indoors enjoying leisure activities and managing the household. However, women of the lower and middle classes were not solely bound to the domestic sphere. It was common for women to manage town inns and restaurants, farmers’ daughters to weave mats and sell them on their own behalf, midwives to deliver babies, Buddhist nuns to study religious texts and sutras, and female nurses to assist physicians. Many women kept a close eye on their own financial matters; there are legal case documents that describe childless widows who accused their nephews of stealing their property.

Social Life in the Song

The populace engaged in a vibrant social and domestic life, enjoying such public festivals as the Lantern Festival and the Qingming Festival. There were entertainment quarters in the cities providing a constant array of amusements. There were puppeteers, acrobats, theatre actors, sword swallowers, snake charmers, storytellers, singers and musicians, and prostitutes, and places to relax, including tea houses, restaurants, and organized banquets. People attended social clubs in large numbers; there were tea clubs, exotic food clubs, antiquarian and art collectors’ clubs, horse-loving clubs, poetry clubs, and music clubs. There were regional styles of cooking and cuisine, as well as of performing arts. Theatrical drama was very popular amongst the elite and general populace, although Classical Chinese—not the vernacular language—was spoken by actors on stage. The four largest drama theaters in Kaifeng could hold audiences of several thousand each. There were also notable domestic pastimes, as people at home enjoyed activities such as the go and xiangqi board games.

Religion and Philosophy

Religion in China during this period had a great effect on people’s lives, beliefs, and daily activities, and Chinese literature on spirituality was popular. The major deities of Taoism and Buddhism, ancestral spirits, and the many deities of Chinese folk religion were worshipped with sacrificial offerings. Tansen Sen asserts that more Buddhist monks from India travelled to China during the Song than in the previous Tang dynasty (618–907). With many ethnic foreigners traveling to China to conduct trade or live permanently, there came many foreign religions; religious minorities in China included Middle Eastern Muslims, Kaifeng Jews, and Persian Manichaeans.

Song intellectuals sought answers to all philosophical and political questions in the Confucian Classics. This renewed interest in the Confucian ideals and society of ancient times coincided with the decline of Buddhism, which was then largely regarded as foreign and as offering few solutions for practical problems. However, Buddhism in this period continued as a cultural underlay to the more-accepted Confucianism and even Taoism, both seen as native and pure by conservative Neo-Confucians. The continuing popularity of Buddhism is evidenced by achievements in the arts, such as the one-hundred painting set of the Five Hundred Luohan, completed by Lin Tinggui and Zhou Jichang in 1178.

Chinese folk religion continued as a tradition in China, drawing upon aspects of both ancient Chinese mythology and ancestor worship. Many people believed that spirits and deities of the spirit realm regularly interacted with the realm of the living. This subject was popular in Song literature. People in Song China believed that many of their daily misfortunes and blessings were caused by an array of different deities and spirits who interfered with their daily lives. These deities included the nationally accepted deities of Buddhism and Taoism, as well as the local deities and demons from specific geographic locations. If one displeased a long-dead relative, the dissatisfied ancestor would allegedly inflict natural ailments and illnesses. People also believed in mischievous demons and malevolent spirits who had the capability to extort sacrificial offerings meant for ancestors—in essence these were bullies of the spiritual realm.

Arts and Literature

Chinese painting during the Song dynasty reached a new level of sophistication with further development of landscape painting. The shan shui style painting—”shan” meaning mountain, and “shui” meaning river—became prominent features in Chinese landscape art. The emphasis laid upon landscape painting in the Song period was grounded in Chinese philosophy; Taoism stressed that humans were but tiny specks among vast and greater cosmos, while Neo-Confucianist writers often pursued the discovery of patterns and principles that they believed caused all social and natural phenomena. The making of glazed and translucent porcelain and celadon wares with complex use of enamels was also developed further during the Song period. Longquan celadon wares were particularly popular in the Song period. Black and red lacquerwares of the Song period featured beautifully carved artwork of miniature nature scenes, landscapes, or simple decorative motifs.

The gentry elite engaged in the arts as accepted pastimes of the cultured scholar-official; these pastimes included painting, composing poetry, and writing calligraphy. Poetry and literature profited from the rising popularity and development of the ci poetry form. Enormous encyclopedic volumes were compiled, such as works of historiography and dozens of treatises on technical subjects. This included the universal history text of the Zizhi Tongjian, compiled into 1000 volumes of 9.4-million written Chinese characters. The genre of Chinese travel literature also became popular with the writings of the geographers Fan Chengda (1126–1193) and Su Shi, the latter of whom wrote the “daytrip essay” known as Record of Stone Bell Mountain, which used persuasive writing to argue for a philosophical point. Although an early form of the local geographic gazetteer had existed in China since the 1st century, the matured form known as “treatise on a place,” or fangzhi, replaced the old “map guide,” or tujing, during the Song dynasty.

Theater and drama in China trace their roots back to the academy of music known as the Pear Garden, founded in the early 8th century during the Tang dynasty. However, historian Stephen H. West asserts that the Northern Song era capital Kaifeng was the first real center where the performing arts became “an industry, a conglomerate involving theatre, gambling, prostitution, and food.” The rise in consumption by merchants and scholar-officials, he states, “accelerated the growth of both the performance and the food industries,” asserting a direct link between the two due to their close proximity within the cities. Of the fifty-some theaters located in the “pleasure districts” of Kaifeng, four were large enough to entertain audiences of several thousand each, drawing huge crowds that nearby businesses thrived upon. The chief crowd that gathered was composed of those from the merchant class, while government officials only went to restaurants and attended theater performances during holidays.

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