In the east ear room, there is a busy scene.

"A set of 14 button clocks, arranged under the north wall from small to large."

"A set of 5 Yong clocks, located on the east side of the button clock. From small to large, they are placed on the ground in turn, and there is no wooden frame in sight. ”

"Yongbu and the bell body are cast in the same mold, which is basically intact, the shape is the same, and the size is different."

"The outer pei of each Yong bell has traces of silk wrapping, indicating that it was wrapped for burial."

"A set of 8 pieces of hooking, placed on the back wall of the east ear, most of the sizes are set when unearthed, the shape of the vessel is basically the same, and it is also cast in one piece."

The inscription on the hook, in addition to the unified "Emperor Wen's nine years of Yuefu Gongzao", each of which is also engraved with the code of "first" to "eighth", and the seal font is neat! ”

"The hook engraved with the first is the largest, with a height of 64 centimeters and a weight of 40 kilograms, decreasing in descending order!"

"The eighth is the smallest, with a height of only 36.8 centimeters and a weight of 10.75 kilograms!"

Chen Han, Lin Ya, and Zhuang Yunpeng were counting the three groups of bronze orchestrations that had been cleaned up.

Kong Jianwen and Professor Li took notes on the side.

After the size, shape, and characteristics of each piece of the three groups of bronze orchestrations were recorded and archived, Professor Li closed the notebook: "I will select one piece from each of the three groups of bronze orchestrations, and invite the researchers from the central laboratory of the Guangdong Geological Bureau to conduct electron probe analysis." ”

"Determine the chemical composition of these three sets of chimes and see the alloy ratio."

Generally speaking, from the Warring States period to the Qin and Han dynasties, copper, lead, and tin were used as the main raw materials when making bronzes.

However, the ratio of these three raw materials varies from country to country, from time to time, and even from workshop to workshop.

The excavation of these three groups of bronze orchestrations is still of great significance to the study of the bronze manufacturing process of Nanyue at that time, and it must be studied well.

"The rest of these bronze orchestrations will be packed and sent to the Guangzhou Museum for temporary storage."

Professor Li instructed everyone, with the help of tools, to send these three groups of bronze orchestration out of the tomb, and then hurriedly took everyone back to the east ear room to continue the cleaning work.

The situation in the east ear room is much better than in the front room.

Because there is no large influx of fill, it is easier to clean up the utensils in the room.

In just half a day's effort, these three groups of bronze orchestrations were cleaned up.

And these three groups of orchestrations only occupy a small part of the artifacts in the east ear chamber.

In addition to these orchestrations, there are many musical instruments in the east ear room.

It's just that non-copper instruments are not so well preserved.

It may not be suitable for long-term preservation of ancient tombs on this side of Xianggang.

In the tomb of Marquis Yi of the Warring States Period, which was hundreds of years earlier than Xianggang, a large number of musical instruments were also unearthed, both wooden and copper, and the preservation was very intact.

However, in the Xianggang Nanyue National Tomb, as long as it is stained with wood, it is seriously decayed and basically cannot be preserved.

Chen Han was next to the Yong bell and found four bronze sheaths (ruì).

One sheath and four sheaths, it can be determined that this should be an accessory for a sher.

The origin of the Se is very long, and it is one of the earliest stringed instruments in China.

"The Book of Songs: Xiaoya" has: "Qin Se beats the drum, to Yutian Zu, to pray for Ganyu, to introduce my millet, to Gu my native girl." ”

This is the earliest record in ancient books, indicating that Se has a history of at least 3,000 years.

In the pre-Qin period, it was extremely popular, and it was also widely popular in the Han Dynasty, and it was often used to accompany Xianghe songs in the Northern and Southern Dynasties, and it was also used a lot in the Tang Dynasty.

It's just that it has been lost from the time of Guser to the Northern and Southern Dynasties.

Since the Tang and Song dynasties, the documents contained in the literature and the court used in the past dynasties have been quite different from the ancient Se in terms of form, string tension, and tuning method, and it is made by later generations according to the classics of the ancestors, and then imitated.

The score of the pre-Qin period has also been lost.

Even the scores of later generations in the Tang and Song dynasties have also been lost in modern times.

The existing Se genealogy is only from the Ming and Qing dynasties, as well as a small number of ancient genealogies from the late Song Dynasty to the early Yuan Dynasty.

Modern people can never know what kind of music was the "Qin Se and Ming" loved by the nobles and princes and even the emperors and generals during the peak of Chinese ritual music culture from the pre-Qin to the Qin and Han dynasties.

"Zhou Li: Musical Instrument Diagram" records: "Yaser twenty-three strings, Song Se twenty-five strings." ”

In the Zhou and Han dynasties, archaeological excavations have found that the number of strings ranges from 23 to 25 strings, and 25 strings are the majority.

Through archaeological excavations, it can be basically proved that the record of the "Zhou Rite and Musical Instrument Diagram" is accurate.

From the Zhou Dynasty to the Tang and Song dynasties, the sedu was a twenty-five-string playing instrument, which was different from the guqin, which had only seven strings.

As for why Li Shangyin wrote the classic sentence "Jin Se has fifty strings for no reason, one string and one pillar Si Hua Nian." ”

It is because there is an allusion in the Han Dynasty that Se originally had fifty strings.

However, Shaohao's son, Emperor Taidi, when he ordered Su Nu to play the fifty-string serpent, because it was too sad, the emperor couldn't stop it, so he divided her seer into two halves into twenty-five strings.

Since then, the term "Fifty Strings" has been used to refer to sad music.

During the Zhou to the Western Han Dynasty, in the township drinking ceremony, the township shooting ceremony, and the Yan ceremony, they all sang with the accompaniment of Se.

Especially in the Western Han Dynasty, the seheqin basically dominated all kinds of banquets and became the main instrument for banquet performance.

It's just a pity that the wooden tire of this Nanyue country has completely decayed, and only some fragments of lacquered wood remain, and four complete copper sheaths.

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Sheath, pillar also.

This thing is used to hold the strings of the Ser.

Analogous to the modern Western violin or guitar, it is an accessory that wraps the headstock around the strings and holds the strings in place.

But it's not like a violin guitar, it's just a little button.

It's huge.

The bronze sheath that Chen Han held in his hand was gilded throughout. It is in the shape of a Boshan mountain.

This sheath is seated on the cloud pattern, and the cirrus clouds stand on the mountains, and there are dragons, bears, lions, wild boars, etc. frolicking in the mountains between the clouds and mountains.

There is also a monkey carved on the top, squatting on the top of the mountain.

Next to the monkey, there are two dragons, bending their heads upward, one dragon's mouth is open, one dragon's mouth is closed, and there are two tigers and one bear on the side of the mountain, running on the mountainside.

There was a wild boar on the side of the mountain, half of its body emerging from the cave.

It can be said that such a sheath is a condensed hill, and the scene of the entire mountain is integrated into such a bronze vessel.

It's stunning!

Under the shackle, there is also a square shaft for tying strings.

The shaft is wrapped with multiple layers of string marks, hollow, and the memory is rotten wood.

There are also traces of silk on the handle, which can be seen that the whole of the silk should have been wrapped in silk at the time of burial.

It's a pity that the silk and the wrapped Se have all decayed.

Only the bronze sheath remained.

The only four remaining sheaths, with a height of only eight centimeters and a base diameter of only 5.5 centimeters, condensed a mountain carved into them.

When Chen Han watched it, he was simply shocked!

It's so beautiful!