Volume 2, Chapter 4: The Heavenly Canopy Is Made Round[1]
The top of the ch’in resembles the
body of heaven as a canopy. The
shoulders of the ch’in in front[2]
are broad. In back[3]
the waist is narrow. On the left and
right the surface is oblique and rounded.
Everywhere no matter whether it is rounded or straight, one should
follow the set rules. The fingering all
depends on this. So if one follows the
rules of measurement, then the work should be true; otherwise, the fingering
will not be true and the defects of resistance[4]
and striking[5] will
occur. The notes will lose their
clarity and dampened sounds will result.
The secret for a ch’in with an excellent surface lies in making the path
of the strings suitable and in making the fingering convenient and easy. The nature of the strings is that they are
straight, so every string route up and down the ch’in should likewise be
straight and there should not be any defects of slight curvature or sunken
places. The route should be suited to
the strings. When the ch’in surface
lines up with the strings, then the fingering will be close to the surface and
will be naturally easy and smooth. The
problems of resistance and too much expenditure of energy will not occur.
The
method involves first taking a piece of wood that is three feet, nine inches
long. [ Three times three
equals nine is the meaning. ][6] It should be 9/10’s of an inch thick and six
inches wide. (The measurements) should
exceed and not be less than this. It
must follow Yin and Yang, and up and down; that is, take the face to be Yang
and the head to be down.[7] [ The belly is Yin and the tail is
up.] The two broad faces should be
planed flat, and right in the center of the planed area, draw a straight black
line. This will be the base line. The measurements for the entire body will be
marked off from this line. Now one
should measure off every demarcation using a T-square to mark off crosswise,
placing the T-square on the base line and marking off the places so the
crosswise lines will be straight without any deviation. To begin, pick a place on the material to be
the head end and draw a crosswise line there.
[ This is crosswise line number one.] It must be even. Then from this (line) divide and measure off two inches for the
forehead ( e 額).
[ This is the second crosswise line.] Draw another line 4/10’s of an inch down for the cheng-lu (承露) (literally “receive-dew”).
[ This is the third crosswise line. ] Mark off 3/10’s inch for the bridge. [ This is the fourth crosswise line.]
Mark another
8/10’s inch for the ch’i-hsiang (起項) (beginning of the nape). [ This is the fifth crosswise
line.] Now mark off three and
2/10’s inches for the center of the ching (頸)
(neck). [ This is the sixth
crosswise line. - Again mark off
three and 2/10’s inches for the chien (肩) (shoulders). [ This is the seventh crosswise line.] From the inside of the bridge to here makes
seven and 2/10’s inches all together, or one fifth of the total string length,
and this is at the position of the fifth hui.
Again from the shoulders measure off one foot, four and 4/10’s inches
for the start of the yao (腰) (waist). [ This is the eighth crosswise line.] Measure three and 6/10’s inches to the
center of the waist. [ This is the
ninth crosswise line.] Measure off
three and 6/10’s inches to the end of the waist. [ This is the tenth crosswise line.] From within the bridge to the start of the
waist is two feet, one and 6/10’s inches in all, and equals three fifth’s of
the string length, and this is at the eighth hui position. From within the bridge to the end of the
waist measures two feet, eight and 8/10’s inches, equals four fifth’s of the
string length, and is at the eleventh hui position. Now from the end of the waist measure off six and 2/10’s inches
for the kuan-chueh (冠角) (cap). [ This is the eleventh crosswise line.] Measure off one inch for the tail end (尾末). [ This is the twelfth crosswise line.] From within the bridge to here, altogether, is equal to three
feet, six inches, and this is equal to the complete string measurement (for the
top). Within the position of the nut (龍齦) (literally: “dragon’s gums”), measure off 3/10’s of an inch for
the yin-k’ou (齦口) (literally: “gum’s mouth” or
nut’s mouth). [ This is the
thirteenth crosswise line.] The
face of the ch’in from the head to the tail then equals three feet, nine inches
altogether in length. Also altogether
there are twelve divided areas and thirteen crosswise lines.[8] Wherever one measures, measure according to
the standard. [ Measuring from the
base line makes it standard.]
Now at the
areas of successive separation, [ that is, the twelve areas.] in all cases starting from the base line,
measure to the left and right, drawing out straight lines to the two
sides. These successive separated areas
have their differences in width, and in the straightness of each interconnected
section. For example, the nape and
shoulder are connected and have a curved form.
Beginning from the forehead, both on the left and right, mark off two
and 3/10’s inches. [ Altogether
equal to four and 6/10’s inches.]
At the beginning of the nape mark off, both on the left and right, two
and a half inches. [ Altogether
equal to five inches.] Connect
these places on both sides with a slanted line. [ On both sides, left and right, from the first and fifth
crosswise lines, draw in a connecting slanted line.] Again in the center of the neck measure off
lines with lengths of two and 3/10’s inches.
[ Altogether equal to four and 6/10’s inches.] Above from the beginning of the nape, [
Which on the left and right is measured to be two and 5/10’s inches
each.] and below down to the
shoulders, where on both sides one should measure out (from the base line)
three inches. [ Altogether equal to
six inches.] Both areas should be connected
by a curved and bowed line. [
Connect the bowed lines from the fifth to the seventh crosswise lines on both
sides.] Now at the cap on both left
and right, measure off two inches, [ altogether equal to four inches.] and to the shoulder, [ on the left and
right at the two, three inch places.] now draw in two long, straight, connecting lines. [ That is, draw the lines connecting the
eleventh crosswise line to the seventh crosswise line.] Now at the center of the waist on the right
and left, up to the start of the waist and down to the end of the waist, and
from within the long and oblique straight lines, [ that is, the lines on both sides from the cap to the
shoulders.] on both sides go in
15/100’s of an inch, and then link these lines up to make parallel, straight
lines.[9] [ Above and below, in all cases one
should go in ( from the outside line) 15/100’s of an inch, so these are called
parallel, straight lines.] At the
beginning and end of the waist one should draw these lines so as to slightly
“turn the corner”. Now at the nut
mouth, draw out to both sides lines measuring 6/10’s of an inch. [ Altogether equal to one and
2/10’s inches.] Link the ends of
these lines up with the ends of the cap’s lines in order to form crescent moon
shaped lines. [ That is, link up the
thirteenth and twelfth crosswise lines making crescent moon shaped lines.] These then are all the lines on both sides,
right and left, of the ch’in’s face.
Once
more draw lines from the base line to the sides, this time at the nut mouth,
making each line 55/100’s of an inch long.
[ Altogether equal to one and 1/10’s inches.] At the ch’eng-lu draw lines measuring two
inches in length. [ Altogether equal
to four inches in length.] Connect these lines up on both sides making straight lines. These lines are borders for the one and
seven string positions.
So then
all the lines for all the sections of the head and tail have been drawn out
clearly. [ For the long, straight
lines, use the carpenter’s line method.
The short curved lines are drawn free hand.] So now according to the set form, front and
back, left and right, saw out the complete ch’in face.
Now on
the sides on both left and right, [ that is, the two, 9/10’s of an inch
thick (side) faces.] from the tail
to the shoulders, separated from the side of the face 65/100’s of an inch, draw
a parallel straight line. Then take the
line and extend it; that is, draw it in by the three regions of the neck,
bridge, and forehead, keeping it down accordingly along the side always. Now take the crosswise lines used previously
to zone off sections, [ that is, the thirteen sectional crosswise
lines.] and one by one accordingly
draw them vertically down onto the sides.
Thus both sides then will be sectioned off.[10]
Now that
the measurements for the entire body have been completed and the form cut, one
should make the “overturned” form.[11] There are two kinds of forms. One is the bulging form 
; and the
other form 
descends less steeply. These are not the same. It depends on the design one wants to
use. But the entirety, front and back,
above and below, must match, so that the string path will be suitable and the
fingering will consequently be without resistance. Also both width and straightness are different. [ As for the slanted places, above
and below, they have their differences.
The standard for the straight places is the same.] If one desires uniformity, it is necessary
then to use a pattern to even things up.
Take a piece of paper and divide it into thirteen crosswise rectangles. The first and the third should be 5/10’s of
an inch tall. The second should be
4/10’s of an inch tall. All the
remaining ten should be each one, 65/100’s of an inch tall.
Now in
every case mark a straight line down the widthwise center (of the paper
strips). This will be the base
line. According to the various places
on the ch’in’s face: [ altogether
thirteen places.]
1. the
forehead, [ the first strip.]
2. the
bridge, [ the second strip.]
3. the
neck, [ the third strip.]
4. the
shoulders, [ the fourth strip.]
5. the
hsiung (胸) (chest), [ the fifth
strip. This is between the third and
sixth hui or at the fourth hui, sixth fen.]
6. the
sixth hui, [ the sixth strip.]
7.
seventh hui, [ the seventh strip.]
8. the
border for the beginning of the waist, [ the eight strip at the border for
the eighth hui.]
9. the
middle of the waist, [ the ninth strip is at the ninth hui, fourth fen.]
10. the
end of the waist, [ the tenth strip is at the tenth hui.]
11. the
thirteenth hui, [ the eleventh strip.]
12.
thirteenth hui, fifth fen, [ the twelfth strip.]
13. at
the inner border of the nut mouth, [ the thirteenth strip is at the tail
border.]
and
according to each place’s crosswise width, and marking from the center base
line, measure out to the two sides left and right, and mark this all down on the
successive crosswise strips.
These
then are the measuring lines for the widths of different areas on the
ch’in. Now according to the crosswise
widths of the above mentioned twelve areas, within the borders of the first and
seventh string lines which run from the inner border of the bridge down to the
inner border of the nut mouth, measure and mark these (widths) on the
successive crosswise paper strips. Do
it by measuring out from the base line to the said borders. These lines are the straight measuring lines
for the width of the one to seven string borders. Now in between the lines marking the outer boundaries and the
lines marking the one to seven string boundaries, mark on all the strips seven straight
lines. [On every section in the
middle and on the left and right there now should be nineteen straight lines.]
(The strips for) the two areas of the
bridge and the neck are only divided up by three straight lines. After this then on the tail section
crosswise paper strip, [ that is, the section marked by the inner
border of the nut mouth.] starting from the base line, gradually make a
curved shape out to the one to seven string border lines. Although curved, it should seem flat. Now starting from here gradually make it
more curved down to the outer limits.
This should resemble a crescent moon bow shape. Whether it bulges up or evenly slopes off is
determined by one’s own deliberations and does not matter. Further the overturned form is fixed by this
one action. All this more or less
causes the ch’in above and below[12]
to be uniform and even in its straightness or obliquity. So the path of the string is naturally
suitable and there is absolutely no resistance in fingering.
But in
front and in back the width is not the same, so how can one make the curved,
overturned form uniform? This method
involves another strip of paper. Its
length is of no consequence, as long as it is over an inch in length. It should be as tall as the previous strips
of paper; that is, the ones that were 65/100’s inches tall. Now make crosswise lines and take the paper
slip and oppose it [ what is being opposed are the lines on both sheets of
paper, which should match up and not be helter skelter.] to the height of the previously drawn paper
slip for the tail section. [ They
should both be 65/100’s of an inch tall.] According to the curved places on the tail strip’s half sides, [
left and right each are half sides.] with their straight lines which make
up eight sections, [ left and right both have eight straight sections.]
mark out successive crosswise sections on the second slip.
Once
having finished marking these out, then take the eight sections marked down on
the strip and oppose these to the straight lines on the various left and right
(halves) [ left and right there are eight straight lines.] of the previous sections. [ This refers to the thirteen sections.]
Make sure that this strip is placed
correctly opposing the other strips’ straight lines. Then one by one make dots to mark it (the curve’s position). Now according to the dots, ink in the
curves. Thus the overturned shape for
all the sections is made complete.
However
the heights of the crosswise strips for the forehead, bridge and middle of the
neck are not 65/100’s of an inch, but are 45/100’s and 5/10’s of an inch. So then on the paper strips for these there
can be only two crosswise lines above and below. [ The length must match the other’s (e.g., the bridge) height,
so that one can obtain the curved form.][13] These strips do not have eight lines, they
only have four. Then on the paper strip
there should also only be four lines in order to match. [ Use the lines closest to the one to
seven string border lines. Do not use
the lines near the edge.] In so
much as the one to seven string border lines in this area get especially broad,
and as they progressively get nearer the edge, so then the overturned form from
the center to the one to seven string border lines is only slightly curved,
while actually seeming level. Here
because from the one-seven string border lines to the extreme edge there is
only 5-6/10’s inch or so, therefore one need only divide with four straight
lines. So only these four top lines
are used for the curved form. [ On
the (transfer) paper strip there are eight straight lines. The four above are closer together, while
the four below are further apart.]
As for the forehead, on both sides it slants less than 1/10th
of an inch and no more. This area
also, basically has nothing to do with the sound capabilities or the
fingering. Consider its form and put it
on a strip (however one pleases).
Now all
the successive sectional forms have been drawn. After this use thirteen hard wood strips, with each one’s thickness
measuring 5/10th’s of an inch, and with length like each section’s
breadth. [ Each wooden strip’s
length should be equal to the crosswise breadth of each successive section of
the ch’in’s face.] Also their width
should be equal to the (paper) strip’s height.
[ Each wooden strip’s width is equal to the previous paper strip’s
height.] Now take the previous
strips with their crosswise sections indicating the curved form and stick them
squarely on the side face of the (appropriate) wooden strips. Now on the top of the wooden strips, according
to the straight lines, [ On each in the middle, and on left and right,
altogether there are nineteen straight lines.
Excepting the two border lines, there are seventeen lines.] on the paper strips which are stuck to the
side, position a drill and make small holes through the wood. Afterwards cut out the thirteen wooden
strips according to the paper forms, which are stuck on the sides with their
curved tops and level bottoms. Thus are
made the mother forms for the overturned shape.
Now take
these wooden forms and put their flat edges down on the ch’in face according to
their respective positions. One should
use an iron drill that is 65/100’s of an inch long. [ The size of the drill must be equal to the length of the
holes. So the standard is 65/100’s of
an inch long. If it is too long, then
the ch’in’s face will be thin. If it is
too short, then the ch’in will be too thick.] And then drill down through the middle of the wooden strips (in the holes) with the drill’s base [
from the drill’s point to the base should be 65/100’s of an inch.] and stop when it gets to the surface of the
wooden slips. Then the sharp point of
the drill will enter into the ch’in’s face.
When one has drilled down into all the sections, then use a long plane
and starting from the tail, plane the straight and slanting parts down to the
forehead. Now on all the sections one
must take as a goal using the plane to get rid of the sections scarred by the
drill. On both the left and right use
the plane down to the sides. Then the
whole body’s overturned form is finished and perfected.
The
following drawings[14]
are of the paper slips with their crosswise sections which are used as models
in making the overturned form. Only the
nut section, the shoulders, and the bridge, plus the pattern taken from the
tail section (and the transfer slip) are drawn here. The rest are like these.
The
forms[15],
sections and measurements of Cheng-ho (正合) (lit. Upright Harmony), Chiao-yeh (蕉葉) (lit. Plantain Leaf), and Tz’u-chun (此君) (lit. This Gentleman) (ch’in styles) have also been recorded for
purposes of selection.
Figure 2, mother forms and transfer slip.
Note: At
the top right is a guide to the transfer slip.
The top three (left-hand) drawings illustrate selected forms; nut,
shoulders, and bridge respectively. The bottom form gives an overview.
