析安徽屯溪出土的“五柱器”

Analysis of the Bronzes “Socle with Five Columns”Unearthed from M1 in Tunxi

屯溪M1出土的两件五柱器,脊上有五等距锥体,脊下为一圆角方座,这一造型,酷似南宋初期宋伯仁所画之"柷梅"。从文献学的角度考据,宋儒的乐器"柷"全盘接受自汉儒,而文献与考古两项都指证,周礼之中并无乐器"柷",则荀子钩沉回来的"柷"是否来自商礼?回答是肯定的。周礼对商礼有承袭也有割舍,具体到音乐上来,则周礼割舍了商礼中的巫祝文化,因此而放弃了商礼中巫祝用于候风、辨音的法器,也就是音官手中用于礼起、音始的乐器"柷"。而安徽屯溪之所以出现被周礼抛弃的古老乐器"柷",正是遭到周王朝灭杀的殷商贵胄南逃过江后,在吴越地区对殷商礼、乐器的青铜再铸所致。

A pair of bronzes with socalled “socle with five columns” was unearthed from Tomb M1 in Tunxin, AnhuiProvince. This object is very similar to a musical instrument named Zhu, which was sketched by Song Boren, a Confucian in the Southern Song Dynasty. After the sinological analysis, we know that the sketch resembles the HanConfucians’ original conception of the musical instrument named Zhu. But neither sinological research nor achaeological evidence supports the existence of the Zhu musical instrument in the rites of the Zhou Dynasty. Is it possible thatit belonged to the rites of the Shang Dynasty？ The answer is yes. The rites of Zhou inherited some of the rites of Shangand abandoned some others, particularly if it contented a shaman culture. Shamans in the Shang Dynasty used theZhu as a magical instrument, allowing them to determine the direction of winds, to distinguish different sounds and eventually to welcome the gods. For this reason a Shang rite usually started with a stroke on the Zhu musical instrument, as reported later by Confucians from the Han Dynasty. But this practice was abandoned by the Zhou Dynastyand presumably also strictly forbidden during their clutrual events. A Zhu musical instrument appeared in Tunxi, farfrom the midlands of China, because the royal lineage of the Shang kingdom and their allies, for example ShangYan,had been expelled and scattered by the Zhou troops after a war （or several wars） spanning many years, and the shaman culture had been rebuilt within the area of the later States of Wu and Yue, as soon as they had found a place thatwas secure from the threats of the Zhou Kingdom.