CHINA ARQUEOLOGIA golden-age-chinese-archayeolog

scale in E in three consecutive octaves. The overall
distribution of notes is less regular than in earlier
and contemporaneous chimes made in northern
China, possibly indicating that mid-sixth-century
Chu casters were just beginning to cast acoustically
sophisticated bell-chimes. 4
The symmetrical groups of bosses on eachyongzhong
probably served to dampen the nonharmonic
overtones emitted by the upper part of the bell,
thus emphasizing the two fundamental notes. The
enclosed panels between the bosses, as well as on
the shank, are ornamented, in typical Chu style,
with tiny dragons raised in jagged relief. 5 Larger
versions of the dragon motif appear on the flat
head and in the center of the striking platform.
The inscribed text, repeated seventeen times, 6
identifies the individual for whom this chime was
made as the grandson of a Chu king. Though unknown
from historical sources, this Wangsun Gao
may have been the son of Wangzi Wu (d. 552 BCE),
a royal prince and Yuan Zi Feng's predecessor as
chief minister of Chu. Feng's tomb contained a
magnificent set of seven bronze tripods made for
Wangzi Wu. How such royal bronzes came into
Feng's possession is unclear; perhaps they were a gift
from the Chu king, symbolizing Feng's appointment
as chief minister and, simultaneously, the ouster of
Wangzi Wu's branch of the royal lineage. 7 LVF
Inscription 8
It was the first month, in the first quarter,
day dinghai. I, Wangsun Gao, selected my
auspicious metals and for myself made
[these] harmonizing bells. They are longvibrating
and sonorous, and their fine
sound is very loud. With them, sternly and
in a very dignified manner, I reverently serve
the king of Chu.
I am not fearful and make no mistakes. I
am gracious in my administrative demeanor.
I am thoroughly familiar with the aweinspiring
ceremonies. I am greatly respect-
273 CHU TOMBS AT XIASI