The Researchonthe Bronze Bells And The Burial Bells System Ofthe Zeng State

The etiquette and music system of the Zhou Dynasty was embodied in its instrumental system,which formed the Zhou Dynasty ritual musical instrument combination represented by the bronze musical bells.As a vassal state discovered by archaeological excavation,the combination of musical bells buried in the tombs of Zeng provided an important basis for discussing the ritual and music system of Zeng and recovering the history and culture of Zeng.Based on the comprehensive collection of archaeological data and the research of previous scholars on the history and culture of Zeng,this paper discusses the Zeng’s musical bells and their burial bell system.It is clarified that the research object of this paper is the three main types of musical instruments:yong bells,niu bells,bo bells,and the temporal and spatial scope is the Zeng State,which was located in and around the Suizao Corridor during the Zhou period.By combing the research history,it is concluded that the typology of Zeng’s musical bells,the funeral bell system of Zeng,and the use of music at the level of Zeng Marquis still need further discussion,and there are more high-grade aristocratic tombs of Zeng materials,while fewer high-grade aristocratic tombs of Chu are excavated,especially the royal aristocratic tombs.The study of Zeng’s bells and burial bells system can provide clues for the study of Chu’s bells.This paper analyzes the type of Zeng’s bells from the point of view of type,decoration and tuning,and observes its development trend.Zeng’s bells is divided into three types,seven periods,eight types and eighteen types.it makes clear the phenomenon of the unique degree of outward deviation of Zeng’s bells and the phenomenon of "eight prismatic yong ".This paper makes a systematic discussion on the burial bells system of Zeng State.The burial bells system of the aristocracy of Zeng Marquis can be seen the phenomenon of "unitary combination of yong bells" evolved from "yong bells preference".The arrangement of burial bells is strictly in accordance with the regulation of the three columns of marquis’ burial.it is clear that Zeng marquis Qiu,Zeng marquis Bao and Zeng marquis De used 4 yong 16 bo or 4 yong 17 bo in the middle of the Chun Qiu period period.This paper makes a further discussion on the phenomenon of "unitary combination" of bells in the late Chun Qiu period,and holds that one of the reasons for this phenomenon is the ritual significance and musical performance of yong bells itself.Second,users hope to express their ethnic identity and political pursuit through the combination of musical instruments.This paper gives rise to several related problems,such as the difference of degree of outward deviation between Central Plains’s bells and Zeng’s bells,which is rooted in the preference for specific bells and the dynamic development of the ritual meaning of brozen bells itself.there are many Chu cultural factors in the Wanrong Miaoqian cemetery,the only eight prismatic yong bells unearthed in the Central Plains,which prompts us to pay attention to the special cultural nature of the cemetery and the relationship between Chu and Jin in the late Chun Qiu period.The development process of Zeng Guolezhong and burial bell system reflects Zeng’s adherence to the tradition of Ji Zhou and the absorption of Chu cultural factors under the expansion of Chu.It is believed that with the discovery and publication of more information,the music system of Zeng and even the musical system of Chu will become clearer.