The Research Into The Bells Of Zhou Dynasty In Shandong Area

Shandong area, with the Huang and Bo Sea in northeast and Tai Mountain in west, is a relatively independent geographical unit of North China plains. During Zhou dynasty, Shandong area is very rich in precious cultural relics of ancient music, which majored in Yong bells, Bo bells and Niu bells. Therefore, from the aspects of archaeology, etc., systematic research on these three kinds of bells has an important academic significance.The introduction part firstly tells us spatial and temporal scales and also related concepts of this article, and then looks back bronze bells excavated or found in this region. Based on academic history review, the article points out a number of issues existing in previous study and makes clear personal research purposes and writing ideas.Chapter one is typology research of Zhou bells in Shandong areaa. First, mainly according the ornamentation changes in Zhenggu area, combined with Zhuan, Wu and Yong area,118pieces of Yong bells are divided into eight types ranging from Ⅰ to Ⅳ. And its evolution patterns can be divided into five major stages:the middle and late Western Zhou Dynasty, the early Spring and Autumn Period, the middle Spring and Autumn Period, the late Spring and Autumn and early Warring States Period. Second,64pieces of Bo bells are divided into seven types ranging from Ⅰ to Ⅲ and five stages from the early Spring and Autumn Period to middle Warring States Period. Third,175pieces of Niu bells are divided into eight types ranging from Ⅰ to Ⅳ and five stages from the late Western Zhou and early Eastern Zhou Dynasties to the late Warring States Period. Forth, Haidai bells can be divided into three large stages:the beginning period, the developing period and the decline period.Chapter two is inscription study of bells, including inscription location, assemblage, content and character form. In the beginning period, Yong bells inscriptions were brief, located in the Zheng or left Gu area of bells. The developing period had inscriptions on Yong, Bo and Niu bells, and its location, assemblage and character form were various, where Zhu or Xiaozhu State bells were distinctive. There was only two chime-bells with inscriptions in the decline period, where inscriptions were located in Yu area of bells and very simple, following the fading trend of bell inscriptions in the Warring States Period.Chapter three is casting technique study of bells, which includes casting methods and ornamentation designs. The results indicate that both of them were progressive in Zhou Dynasty. Particularly, in the beginning period, shapes of bells were primitive, while bells of the developing period were diverse and exquisite and the decline period with many funerary bells, using welded or cast bonding methods.Chapter four is study of suspended music system, including bell using, bell arranging, gender differences and Sunju. First, usage of Bo bells presented a narrowing trend between hierarchical distinctions. Second, bell arrangement we found in archaeological excavations was basically in line with classic document. Third, tone series of bells in the beginning period were in its infancy, while in the developing period Yong and Bo bells reached the highest point of tone levels, but Niu bells and Stone bells still made further development in music performance. Fourth, men still accounted for the absolute dominance in gender differences of suspended music system. Fifth, the structures of Sunju mainly contained a wooden beam and column, with painted red or black lacquer. And Sun at both ends was dragon-shaped, decorated with bird-shaped Bisha or nested with cylindrical or round copper components. The column of Ju was thick in middle part and thin at both ends, or carved into the cloud-like shape in the central part, or thick in upper part and thin in lower part, while the base of Ju was rectangular or square, or mountain-shaped, etc.Chapter five divided Shandong area into four parts:the north, south southeastern and east Shandong, centered in Yong, Bo and Niu bells. North Shandong was the most representative music-cultural district, both in bells shape, number, using period and casting technique. Besides, one typical characteristic was burial of a large number of funerary bells. In South Shandong, bells with inscriptions accounted for80%of the total. The shapes of bells were extremely beautiful, and one was unique in Shandong area. Ju State was very powerful in Southeastern Shandong in Zhou Dynasty. Not only the King but also the Queen can use Bo, Yong and Niu bells. The instrument combinations contained both musical instruments-bronze bells, lithophones and military instruments-Chunyu, Zheng. The design of Zhenggu area of bells also had an extraordinary characteristic. Bronze bells in East Shandong were only one or two pieces in Western Zhou, while its shape and combination formed their own identity in Eastern Zhou and most of the owners used low-level suspended music system.The conclusion part summarizes the previous chapters, lists some issues needing further study, and suggests perspectives for future study.