Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.

Reformed Qin in the Form of a Guitar (2)

This qin was made by the late Cheung Sai-bung, a music scholar in Hong Kong. It bears the following characteristics:
1. The body is enlarged to increase the amplitude of the sound and references a guitar design.
2. Unlike a traditional qin that features two sound holes on the bottom, the only sound hole existent in this case is on the top.
3. The traditional tuning peg system has been replaced by a guitar machine head.
4. The strings are attached to seven metal knobs on the tail, thus obviating the need to fix the strings on the feet.
5. There are three supporting feet on the bottom.