佛教傳進中國以後，大約在南北朝時期出現了梵鐘。關於梵鐘的起源主要有兩說，一以為其中有許多印度原有響器如金剛鈴的因素，一以為源自佛塔的銅鈴，此二說均將梵鐘的創制遠繫於印度。我們從樂器形制考察，說明梵鐘應是由中國圓體的樂鐘與朝鐘演變而來。另外透過對佛教漢化的考察，從文化上論證梵鐘的出現是佛教漢化的一部份，其重點在於擊鐘的義蘊而非器物本身；佛教擊鐘有其息苦警悟的作用，而這個內涵，在為數約三百首渉及梵鐘的唐代詩作中，卻顯得隱晦不彰，本文推測唐代詩人對於梵鐘的領會與表達是出於較主觀的感性，與佛理未必相關涉。而此二者則形成有趣的對照。

Buddhist bells have been found during the South and North Dynasty after Buddhism entered China. There are two statements on the origin of Buddhist bells. One relates to the original sounding instrument of India, the other declares that Buddhist bells originate from the brass bells in pagodas. Both statements relate the origin of Buddhist bells to India. However, from the investigation of the shape and system of instruments, it has been proved that Buddhist bells originated in circular shape musical bells and imperial court bells in China. In addition, through the investigation of the siniticization of Buddhism, Buddhist bells actually subordinate the siniticization of Buddhism. The emphasis lies on the denotation of hitting the bell but not the instrument itself, that is, hitting the bell in Buddhism serves the function of ending suffering and grasping the truth. Nevertheless, this denotation has been hardly found in the three hundred Tang poems concerning Buddhist bells. This paper hypothesizes that the poet’s cognition and expression in Tang poetry of Buddhist bells stems from a more subjective perception but may not relate to Buddhist doctrine, which forms an interesting contrast.