La pluridisciplinarite en archeologie musicale: IVe- rencontres Internationales du Groupe d'Etudes sur l'Archeologie Musicale de l'ICTM (8-12 octobre 1990)
卷期
v.2
出版日期
1994
頁次
381 - 388
出版者
Maison des Sciences de l'Homme
出版地
Paris, France [巴黎, 法國]
資料類型
專題研究論文=Research Paper
使用語言
法文=French
附註項
Research paper from the book La pluridisciplinarité en archéologie musicale: IVe Rencontres internationales d'archéologie musicale de l'ICTM, Saint-Germain-en-Laye, 8-12 octobre 1990, vol. 2(ISBN:2735105784, 9782735105786)
Among the objects used in China as both musical instruments and the accessories of Buddhist -- later Taoist -- ritual is the qing，a bowl-like bell that is struck on the outside. No study has been devoted to it until now. Its history illustrates the cultural changes in Asia in the first millennium. Originating in the bowls of Indian Buddhist mendicant monks, it is known in the West as a "Tibetan bowl"，and is used by new age musicians who produce on it continuous ethereal sounds by means of friction. The reality is much more complex. The Chinese name means "the stone that resonates"，and it has been known for over three millenia in the form of an actual lithophone. Though absent from iconographical sources up to the 17th c.，archaeology has produced an artifact dated to 851，bearing a text (sutra) engraved in 1403 at the earliest. The Yueshu (Book of music) of Chen provides the first definition of it in 1101. Ethnographic evidence shows it to have been played by monks in those temples where it served to signal to the gods that offerings were being made and to punctuate the recitations and the chant，marking the end of phrases or strophes. It is the Chinese origin of this practice that is addressed here.
