This article written by Tong Wan-hoi examines the illustrations found in the Qing Dynasty publication Yuguzhai Qinpu (Yuguzhai Qin Handbook), the Zhongni style qin called "Hundun", and the unfinished qin, to provide a brief introduction to the basic structure of the qin and the nomenclature of its various parts.
The production of sound from the string is a physical phenomenon, the properties of the string as well as the characteristics of its sound production can be investigated from a physical perspective. This article written by Tse Chun-yan and Wong Chun-fung is focused on sound analysis of longitudinal vibration and how physical properties of the strings affect the tone.
This article, wriiten by Wong Shu-chee, introduces nine steps of traditional method of making qin strings in China: choosing the silk, bundling the silk, combining the threads, forming the strings, boiling the strings, rinsing the strings, drying the strings in the sun, cutting the strings, winding the strings.
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 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.
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.
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.
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.
