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Art of Silk and Wood
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- The Lacquer Finishing of the Qin
As the top boards of qins are made of soft wood, such as Chinese parasol or fir, they are not strong enough to withstand the tension created by the strings. For this reason, the surface of the qin is coated with layers of lacquer base cement and lacquer finish to bear the tension. This article written by Sou Si-tai introduces the technical knowledge pertaining to the lacquering of the qin.
- Yuguzhai Qinpu (Yuguzhai Qin Handbook)
The first edition of the Yuguzhai Qinpu (Yuguzhai Qin Handbook), written by Zhu Fengjie of the Qing Dynasty (1644-1911), was published in 1855. Zhu Fengjie, also known as Tongjun, was a native of Pucheng, Fujian and founder of the Pucheng School of qin. The Yuguzhai Qinpu does not contain any qin tablature. In fact, it is a compilation of the author’s theories on the qin and a discussion covering the aspects of music temperament, qin making, qin practice, and qin playing.
Very detailed information on qin construction can be found in the chapter titled “Qin Construction” in volume 2. Most of the qin making tools described in this volume are still in use today. These include, among others, planes, axes, saws, rasps, drills, round chisels, and square chisels.
- Zhuoqintu (Illustration of Qin Making)
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. The scroll seen here is a fair copy (2013) made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- Wood chopping [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - wood chopping is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- Qin shaping [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - qin shaping is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- Sharpening a blade [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - sharpening a blade is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- Hollowing the cavity belly [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - hollowing the cavity belly is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- String making [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - string making is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- Tone testing [extracted from Zhuoqintu (Illustration of Qin Making)]
Gu Kaizhi of the Eastern Jin period was said to be the author of the Zhuoqintu (Illustration of Qin Making). A Song Dynasty silk copy currently resides in the Palace Museum in Beijing. This extracted piece of scroll - tone testing is from a fair copy made by Li Fei, a member of the Choi Chang Sau Qin Making Society. The Zhuoqintu depicts different scenes of ancient literati directing craftsmen in the process of qin making. People in the painting are chopping wood, making strings, or testing the qin. Some can be seen observing and giving instructions.
- The first step of qin making process: seeking
Selection of materials is of the utmost importance in the process of qin making. The material has to be particularly “light, porous, crisp, and smooth”. Naturally air-dried old Chinese fir, Chinese parasol and Chinese catalpa, that have been stored for years are the best materials for making a qin. On top of possessing good sound qualities, naturally air-dried wood seldom cracks. The top board of the qin is usually made of Chinese fir or Chinese parasol; the bottom board is usually made of Chinese catalpa or other hardwood. The wood for making the qin should have smooth grain lines and even width. There should be no knots or moth damage to the wood. This photo shows the first step of qin making process which was demonstrated by Choi Chang-sau.