Qins in Different Periods

This qin, named Dongxiao, was made in Northern Song Dynasty (960-1127) and was acquired by Lee Chun-yuen, Otto. The photo shows the front of Dongxiao in Fuxi style. This qin, named Dongxiao, was made in Northern Song Dynasty (960-1127) and was acquired by Lee Chun-yuen, Otto. The photo shows the back of Dongxiao in Fuxi style. This qin, named Qiushui, was made in Ming Dynasty (1368-1644) and was acquired by Ng Ying-wai in the 1990s. The photo shows the front of Qiushui in Zhongni style. This qin, named Qiushui, was made in Ming Dynasty (1368-1644) and was acquired by Ng Ying-wai in the 1990s. The photo shows the back of Qiushui in Zhongni style. This qin is named Langshiquan and was acquired by Lee Chun-yuen, Otto. The photo shows the front of Langshiquan in Lianzhu style.

This qin is named Langshiquan and was acquired by Lee Chun-yuen, Otto. The photo shows the back of Langshiquan in Lianzhu style. This qin is the product of the musical instrument reforms carried out in mainland China in the 1950s and 1960s. It bears the following characteristics:
1. The body is enlarged to increase amplitude of the sound.
2. In addition to the two feet, five wooden knobs have been added to the tail at the bottom. Since each foot or knob is tied to only one string, other strings will not be disturbed during replacement.
3. The traditional tuning pegs system is replaced by a metal tuning machine.
This qin was acquired by Lau Chor-wah. The photo shows the front of the reformed qin in Zhongni style.

Reformed Qin in Z...

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This qin is the product of the musical instrument reforms carried out in mainland China in the 1950s and 1960s. It bears the following characteristics:
1. The body is enlarged to increase amplitude of the sound.
2. In addition to the two feet, five wooden knobs have been added to the tail at the bottom. Since each foot or knob is tied to only one string, other strings will not be disturbed during replacement.
3. The traditional tuning pegs system is replaced by a metal tuning machine.
This qin was acquired by Lau Chor-wah. The photo shows the back of the reformed qin in Zhongni style.

Reformed Qin in the ...

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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 ...

Add to My Collection

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.