• Dahlia Shehata - Florian Leitmeir - Kamila Wysłucha - Stefan Hagel (Editors)

Journal of Music Archaeology

Volume 2, 2024

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The Journal of Music Archaeology (JMA) is the first double-blind-reviewed open access periodical in the field of music archaeology, continuing the spirit of the series Studien zur Musikarchäologie, formerly published by the DAI. It addresses questions concerning the archaeology of sound and rhythmical behaviour of past cultures all over the globe, including the study and reconstruction of certain or possible sound tools, the investigation of soundscapes, especially where intentionally chosen or erected, as well as related historical, anthropological and ethnological research based on iconographies, literatures, and comparative studies reflecting the wide range of approaches and methodologies that has characterised music archaeology from its beginnings.

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Journal of Music Archaeology

ISSN 2960-4184
Online Edition

ISBN 978-3-7001-9730-0
Online Edition



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Verlag der Österreichischen Akademie der Wissenschaften
Austrian Academy of Sciences Press
A-1011 Wien, Dr. Ignaz Seipel-Platz 2,
Tel. +43-1-515 81/DW 3420, Fax +43-1-515 81/DW 3400
https://verlag.oeaw.ac.at, e-mail: bestellung.verlag@oeaw.ac.at
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The Image and Connotation of Small Sculptures on Bronze Drums in Southern China

    Huang Ruoxin 黄若昕

Journal of Music Archaeology, Volume 2, 2024, pp. 171-190, 2024/12/18

Volume 2, 2024

doi: 10.1553/0x003fc100


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doi:10.1553/0x003fc100

Abstract

Lengshuichong type ( 冷水冲型), Lingshan type ( 灵山型) and Beiliu type ( 北流型) bronze drums are collectively known as ‘Large Bronze Drums’. They were popular in Guangxi and Guangdong from the Han to Tang Dynasty (202 BCE – 907 CE), and were characterized by their large shape and numerous small sculptures located on the drum face or foot. In addition to the main frog motifs, there are also depictions of horses, cattle, birds, tigers, aquatic animals, and scenes of human-animal interactions such as riding, plowing with oxen, children playing with turtles and watching frogs fight, etc. The position of the sculptures reflects the playing method of each type of bronze drum: drums with sculptures on the face are generally played while placed flat on the ground, whereas drums with sculptures on the body are typically played while suspended. The sculptures on the bronze drums integrate elements of Lingnan culture, Central Plains Han culture, and Dian culture, reflecting the caster’s contemplation of the universe, nature, and their relationship with humanity.

Keywords: Bronze drums – Multifarious sculptures – Totemism