Vol 2, Chapter 1: A General Discussion on Construction of Ch'in

The ch'in is an ancient musical instrument. It was first made by
Fu Hsi (C) (1) and has been handed down through the generations.
Some of these instruments that have been passed down still exist.
Their forms may be different, and even though one can look at these forms,
still the deper mysteries of construction have not been transmitted.
In former times the most famous ch'in makser was Lei Wei (C). He lived during 
the  Ta-li (C) (766-780) period of the T'ang dynasty in Shu (C) (2).
His clan included: (Lei) Hsiao (C), Chueh (C), Wen (C), and Hsun (C) (3).
C: - Yueh(C) may be Yueh(C). - Shen Liao (C) and Kuo Liang (4). During the
Ming dynasty there were Chu Kung-wang (C), and Chu Hai-ho (C), and the
Prince of Lu (C) (5), all of whom were skilled in constructing the 
ch'in. But in no case have their methods been transmitted.  Occasionally
one can get a surviving instrument and treasure it.  Nevertheless in many
cases these ch'in are falsely ascribed to the Ming dynasty Prince of
I (C) (6), whose literary name was Chu-hsian (C), and who skillfully carved
out a hundred ch'in and passed them on.  Moreover he also edited
the Shen-ch'i-mi-pu (TBD. check. John?) (C) ch'in handbook (7).  
Nowadays these ch'in are seldom seen.  Also if one eamines all of
the ch'in handbooks it is rare that one will find anything about
construction.  Some of them occasionally willmention a few things or
talka bout it in general terms and that is all.  But in no case in the end
do they go into any great detail in explaining its secrets.  Nowadays
when ch'in are made, two slabs of wood are taken and cut out in the form
of a ch'in, which is like copying around a gourd with everything then
complete.  In the end one does not know the reason for the origin of the
methods nor the logic behind why things are done in a certain way.

I have been addicted to ch'in construction for over thirty years now.
I have seen during my time several hundred ch'in of previous eras and
taken apart and repared many of them.  I have analyzed all questions 
of materials and construction methods, both inside and outside
ch'in.  I have also done extensive research into what is suitable
and unsuitable, since once one gains familiarity, one then starts
to understand the tricks of the trade.  I can say I have gained quite a 
bit of understanding of it.  If one builds and repairs according
to the prescribed methods, then naturally one will understand its
secrets.  NOw I want to explain thesemysteries in successive
order starting from selecting materials, construction, to
repairs.  Also a section on tools and how to use them will be included.
I intend to bring everything out and treat everything in detail.
This creation will be like a monk's robe and alms bowl being handed
down (to his disciples).  It is my hope that students of ch'in 
making will continue this craft.

Notes:

1. Legendary culture-hero of prehistoric times.

2. Present day Szechwan.

3. See Martin Gimm, "historische Bemerkunge zur Chinesischen
Instrumentenbaukunst der T'ang, I and II", Oriens Extremus,
XVII (1970), 9-38, and XVIII (1971), 123-33 for a discussion
of the Lei clan ch'in-makers.

4. Cf. Gimm's article p. 12 for Chang Yueh, who was from Kiangsu (Wu).
I know nothing with one exception of the other ch'in makers barring
the Ming princes.

5. A Ming prince who lived in Hangchow.  He was a builder of ch'in,
some of which still exist.  Van Gulik, p.215 states: "Specimens of
instruments built at Hangchow by him or under his direct supervision are 
often met with in Chinese colletions; most bear dates of the Ch'ung-chen
(1628-44) period."

6. Another Ming prince (1564?) and ch'in builder of the Ming. 
See Van Gulik, p. 215.

7. The author is mistaken here in ascribing the Shen-ch'i-mi-p'u to
the Prince of I, as it was done by the Prince of Ning (C) (1378-1448),
Chu Chuan (C). See Van Gulik, p. 214. 

8. A monk's robe and begging bowl (particularly a partriach) were
held in reverence as they were symbols of spritual authority.
Chu's wish is that his book might be given the same treatment so
that its knowledge would be perpetuated.