Volume 2, Chapter 9:
Positioning the Hui Correctly
The
ch’in has thirteen hui. The seventh hui
is positioned in the middle[1]. All of the rest are positioned relative (to
the seventh) on the left and right sides (of the seventh). Numbers six and eight, five and nine, four
and ten are all paired. Three and
eleven, two and twelve, and one and thirteen are also paired[2]. The distances between the positions are not
equivalent. From the inner border of
the bridge to the inner border of the nut, one can establish divisions of
eight, six, and five parts[3]. As for the division into eight parts, its
demarcations, numbers one, two, four, six, and seven, C:[ three and five are not used.]
correspond to hui positions one, four, seven, ten, and thirteen
respectively[4]. As for the division into six parts, its
demarcations, numbers one, two, four, and five, C:[ Number three is for the
seventh hui.] correspond to hui
positions two, five, nine, and twelve respectively[5]. As for the division into five parts, its
demarcations, numbers one, two, three, and four, correspond to hui positions
three, six, eight, and eleven respectively[6].
First
on the face of the ch’in, chalk on straight lines for the positions of the
first and fourth strings. Furthermore,
spaced about 2/10’s of an inch all along the outside of the first line, draw in
another straight line that will be the centerline for positioning the hui. C:[
Straight lines should be taken as meaning lengthwise; crosswise lines should be
taken as meaning crosswise (on the ch’in).] Now take a strip of mounting paper[7], C:[ It
should have two or three layers.] which is half an inch wide and as long as
the face of the ch’in; that is, it is necessary that it should be made as long
as the distance from the inner bridge to the inner border of the nut, and
according to the method, divide it up into eight, six, and five fold
divisions. C:[ The dividing must be done very precisely, otherwise there will be
inaccuracies.][8]
According
to the fixed places of the hui positions, draw a dark line. Take a straight edge (lengthwise) of the
paper slip and place it on the straight line for the fourth string. C: [ The fourth string occupies the center
of the bridge and nut. The first lies
to the side.] Glue one edge on by the
inner bridge border and the other by the inner nut border. If it is a little too long or short, then
the paper slip’s hui positions will be inaccurate. Now take the long edge of a T-square and place it on the fourth
string line. Its crosswise side should
be placed next to the lines drawn for the hui positions on the paper
strip. Under the crosswise side there
is a copper strip (on the square), which will be put on the straight line that
is beyond the line for the first string.
Trace these in so that crosses are formed with the straight, lengthwise
line for the hui positions. All the hui
positions should be fixed according to this method, so then the thirteen hui
positions will be accurate. Continuing,
mark crosses in the middle of the hui, which should already have been
made. Then take the crosses on the hui
and match them up precisely with the crosses at the hui line on the surface of
the ch’in. Now consider the sizes of
the hui and use a compass to make them round.
Use a half round bit and drill into the surface. The depth should be equal to the thickness
of the hui. Use lacquer and mix it with
flour to glue the hui on the surface.
If around the hui there is any excess sticking out, take a fine file and
file it clean. Do not harm the surface
of the ch’in. The placing of the hui
must wait until the lacquer-powder mixture has been rubbed smooth. It should also wait until after the bridge
and nut have been affixed. The
preciseness of the positioning of the hui depends on the following: the length
between the bridge and nut must be calibrated correctly, the method of
divisions (into sections on the strip) must be very precise, and the crosses of
the hui positions must be matched up right.
There must be no deviations. So
with this then the special technique of positioning the hui is completed.
In
the making of the hui, some use gold and jade.
This cannot be considered as auspicious for the ch’in[9]. Moreover it is not elegant to look at or
striking to the eye. Using oyster shell
makes for a beauty in color and a shifting of light that is lovely. But its brightness has its differences,
depending on convexity, concavity, or whether or not it twinkles. So then the form may have its differences,
but pick out the part that is bright and convex. The twinkling part should face in, C:[ towards the first string].
The oyster shell at first should be cut into a square piece. Then draw in the circles and cut them out in
the precise sizes. The diameters should
be approximately 1/10th of an inch, taking extreme roundness as
perfection. They should be made as
pairs, altogether equaling six pairs plus one left over, making thirteen. The seventh hui is a little bigger than the
others, but if it is too big, then that would not be elegant.
Figure 1:
The thirteen hui are pictured and
numbered. In terms of relative
positions, the number 1 hui is close to the bridge. The number 7 hui is centered according to the length of the
strings on the top. The number 13 hui
is close to the nut. In this picture,
the hui are all the same size, but that certainly does not have to be the case
for all ch’in.