試論曾公求墓青銅樂鐘的音列與編列組合——兼論「行鐘」的起源

On the Tone Row and Arrangement of the Bronze Chime-Bells from the Tomb of Lord Qiu of Zeng: With a Discussion on the Origins of“Marching Bells”

曾公求墓隨葬青銅樂鐘共34件，按銘文差異可分為「龢鐘」與「行鐘」兩組。「龢鐘」組包括扉棱鎛鐘4件、甬鐘17件。扉棱鎛鐘4件是東周時期鎛鐘的常見組合形式，但出於安全考慮未作測音。甬鐘17件按音律和銘文可以分為8件與9件兩個編列，8件組採用#D宮的「羽—宮—角—羽—角—羽—角—羽」的音列結構，是西周晚期以來最常見的8件組樂鐘音列，且銘文整齊有序、未見重複；9件組則在8件組的基礎上將「商」音與「徵」音置於編鐘的正鼓音音列，整體呈現#D宮的「徵—宮—商—羽—角—羽」的音列結構，體現了其在8件組音列設置上的繼承發展。同時，該組「角」音鐘（236鐘）與「清羽」鐘（233鐘）的銘文與任一組的其他樂鐘銘文均不協調，說明這2件樂鐘是後配進入隨葬「龢鐘」編列的，而採用4+8+9的「龢鐘」組合無疑是出於葬制上的考慮。「行鐘」組包括簡化獸鈕鎛鐘4件、鈕鐘9件。鎛鐘採用#D宮上的「羽—宮—角—徵」的音列，符合東周時期常見的鎛鐘音列及編列制度。鈕鐘則採用#D宮的「徵—羽—宮—商—角—羽—商—角—羽」的音列結構，是春秋時期最常見的鈕鐘編列與音列組合形式。總體看來，龢鐘與行鐘組樂鐘皆採用#D為宮，音律搭配也遵循常制，說明其設計原理是一以貫之的。龢鐘組從銘文來看，應是屬於宗廟樂鐘，代表墓主人身分，故使用三列樂鐘葬制。而行鐘組則是曾公求在漢淮地區隨葬禮器「行器化」的思潮與實踐影響下，開始在宗廟樂鐘之外，另行鑄造的一套專用於隨葬的青銅樂器，以寓意喪葬為遠行不歸的「大行」之意。因為行器是從出征遠行活動衍生而來，禮制重要性自然不及宗廟祭器，故而行鐘組合在等級上也略低於龢鐘。目前來看，曾公求墓是最早開始隨葬行鐘的曾國墓葬，處於樂鐘葬制變革的初步階段，故而墓內出現了龢鐘與行鐘並存的局面，且行鐘仍具有較強的實用功能。而到了年代略晚的曾侯寶與曾侯得墓中，就都只見行鐘組合，並採用類似龢鐘的編列形式以兼顧身分等級。當然，由於禮制實踐的複雜性，這一變革在此後歲月裡還有少量反復的現象，如曾侯與墓、壽縣蔡侯墓等。

School of History and Cultural Heritage, Xiamen University Thirty-four bronze zhong鐘chime-bells were buried in the tomb of Lord Qiu of Zeng曾公求(?–?). Based on differences in their inscriptions, the bells can be divided into two groups: so-called“harmonious bells”龢鐘and“marching bells”行鐘. The former group includes four fringed bo鎛bells and seventeen yong甬bells. Sets of four bo-bells were common in the Eastern Zhou, but the acoustics of these artifacts have not been measured due to conservation considerations. The seventeen yong-bells can be further separated into sets of eight and nine pieces based on their respective tones and inscriptions. The eight-piece set adopts a tone row of yu-gong-jue-yu-jue-yu-jue-yu羽-宮-角-羽-角-羽-角-羽with the gong position at D#, which was the most common tone row during the late Western Zhou; moreover, the inscriptions on the bells are orderly, without any repetition. The nine-piece yong-bell set has a tone row based on its eightpiece counterpart, with the shang商and zhi徵tones in the zhenggu yin正鼓音(front drum tone) position, giving a progression of zhi-gong-shang-yu-jue-yu徵-宮-商-羽-角-羽with a D# gong. However, the inscriptions on two bells in this set, namely the jue-tone bell (#236) and the qingyu清羽bell (#233), are not consistent with those seen on any of the other bells, indicating that they were included in the harmonious bell group only for the burial, with the arrangement of four bo, eight yong, and nine yong bells being undoubtedly linked to the ritual logic of the burial system itself. The group of marching bells consists of a set of four bo-bells with simple animalmotif handles and a set of nine niu鈕bells. The tone row of the former is yu-gong-juezhi羽-宮-角-徵with a D# gong, the most common progression during the Eastern Zhou. The niu-bells, in contrast, adopt the tone row of zhi-yu-gong-shang-jue-yu-shangjue- yu徵-羽-宮-商-角-羽-商-角-羽, again with a D# gong, which was the most popular tone row in the Spring and Autumn period. Overall, both the harmonious bell and marching bell groups adopt D# for gong, with the tone row regularized, indicating consistency in design. According to the inscriptions, the harmonious bells were used at the ancestral temple and to reflect the status of the tomb occupant; therefore, a threetiered system of chime-bell sets was employed in the burial. Following a local Hanhuai area trend that emphasized“marching,”or traveling, objects, instead of only using harmonious bells from the ancestral temple, Lord Qiu of Zeng began to cast bronze musical instruments specifically for burial rites, signifying how the funeral was a“grand march”to a distant land without return. But because the marching bells derived their meaning from martial expeditions, their ritual importance naturally paled in comparison to the bells from the ancestral temple and thus ranked slightly below that of the harmonious bells. To date, Lord Qiu of Zeng’s tomb is the earliest known burial to include a marching bell group. It reflects a preliminary stage in the reform of burial rites involving musical instruments, which is the reason why two different groups of bells—harmonious and marching—were found in the same tomb with the latter serving a more practical function. In the later tombs of Marquis Bao of Zeng曾侯寶(?–?) and Marquis De of Zeng曾侯得(?–?), only marching bell groups were interred and placed in similar arrangements as that of a harmonious bell group to likewise reflect the status of the tomb occupant. But of course, ritual systems are complex, and contradictory phenomena are occasionally witnessed in tombs dating to subsequent periods, such as those of Marquis Yu of Zeng曾侯與(?–?) or Marquis Cai蔡侯(?–491 BC) in Shou county.