An exceptional archaic bronze drum stand, adorned with three coiled serpents on a high circular base. The large repoussé serpents, their scales worked in low relief, spiral around a flattened top; their three-dimensional necks rising up, their heads resting against a high tubular opening. Various small exotic beasts and mythological creatures adorn the high vertical sides, several also crouch around the foot of the central cylinder. An interesting array of animals are depicted - such as a boars, bears, crocodiles, bats and monkeys – which are all modelled in high relief. The creatures around the high side, are placed against a background of a stylised pattern of intertwined serpent dragons. Three sturdy ring handles for carrying the stand, hang from toatie masks. The impressive size and intricate decoration of this bronze, show it was intended for a conspicuous display of wealth and finery in an age of competing courts.
This particular object would have served as a sturdy base for a wooden pole with a horizontally mounted barrel drum (jiangu), played by a standing musician using two sticks. The stand was made using a highly sophisticated piece-mould casting technique, allowing for an incredible degree of detail. This method reflects the enormous skill and knowledge of the craftsmen at the time, as well as clear evidence of plentiful supply of the metals needed for its production. Comparable examples found in tombs from the same period in the Yangzi region, indicate that these elaborate drum stands, were interred with only the most powerful rulers, their consorts or influential officials - in accordance with their high status in life.
Typical musical ensembles of this period generally comprised of bells, chimes and an upright pole drum. We know this, as such entertainment groups are also engraved on contemporary Eastern Zhou vessels. A very complete and elaborate set of musical instruments, including an impressive drum stand with writhing serpents, was discovered in the renowned tomb of the Marquis Yi of Zeng (c.433 BC) in Hubei province. It is thought that these upright drums were additionally used as war drums, to signal troops and raise moral.
Several known manuals relating to rituals in the Eastern Zhou dynasty, were written towards the end of the Warring States period (475-221 BC), these include the Book of Rites (Liji 礼记), the Rites of Zhou (Zhouli 周记) and the Book of Etiquette and Rites (Yili 仪礼). They all mention the importance of ritual activities as a means to ensure harmony within the society, stating the importance of specific music accompanying these rituals. Music was thought to be essential for restoring social and political order, as well as pleasing the ancestors and gods. Therefore performing harmonious ritual music, must have played a vital role in court ceremonies to appease the gods and high ranking burials to ensure a benevolent effect into the afterlife. Music also conveyed cultural refinement and was regarded as an essential part of life and the art of government, perhaps also softening formalities arising from the prescribed rituals.
