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 The traditional tuning peg system has been replaced by a guitar machine head. 4.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.
The Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) has been in print since the 61st year of the Kangxi reign (1722) of the Qing Dynasty. It was compiled by the renowned father and son qin musicians, Xu Qi and Xu Jun. Besides qin pieces, it also records qin playing techniques and styles of qin. The publication contains a collection of 33 qin pieces, and is the most widely circulated compilation of qin scores since the beginning of the Qing Dynasty. It had been re-carved and re-printed several times. This block-printed edition was published in the 11th year of the Qianlong reign (1746).
The Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) has been in print since the 61st year of the Kangxi reign (1722) of the Qing Dynasty. It was compiled by the renowned father and son qin musicians, Xu Qi and Xu Jun. Besides qin pieces, it also records qin playing techniques and styles of qin. The publication contains a collection of 33 qin pieces, and is the most widely circulated compilation of qin scores since the beginning of the Qing Dynasty. It had been re-carved and re-printed several times. This photo shows the lithographic edition of the Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) printed by Jiaojing Shanfang (Shanghai Chengji Publishing House) in the Republican Period.
The Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) has been in print since the 61st year of the Kangxi reign (1722) of the Qing Dynasty. It was compiled by the renowned father and son qin musicians, Xu Qi and Xu Jun. Besides qin pieces, it also records qin playing techniques and styles of qin. The publication contains a collection of 33 qin pieces, and is the most widely circulated compilation of qin scores since the beginning of the Qing Dynasty. It had been re-carved and re-printed several times. This photo shows the Liangxiao Yin (Tune for a Pleasant Evening), a qin piece in the lithographic edition of the Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) printed by Jiaojing Shanfang.
The Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) has been in print since the 61st year of the Kangxi reign (1722) of the Qing Dynasty. It was compiled by the renowned father and son qin musicians, Xu Qi and Xu Jun. Besides qin pieces, it also records qin playing techniques and styles of qin. The publication contains a collection of 33 qin pieces, and is the most widely circulated compilation of qin scores since the beginning of the Qing Dynasty. It had been re-carved and re-printed several times. This photo shows the lithographic edition of the Wuzhizhai Qinpu (Wuzhizhai Qin Handbook) printed by Jiaojing Shanfang: illustrated left and right hand fingering techniques.
The Qinxue Congshu is a specialised encyclopaedic publication complied by qin musician, Yang Shibai (1863-1931). The book was completed between 1911 and 1931. It comprises 43 volumes and is about 700,000 words in length. An attempt to translate the wenzipu version of the Jieshidiao Youlan in the form of jianzipu is also included.
