Volume 2, Chapter 8:
Hollowing the Chest and Containing the Sound
The face
of the ch’in is the exterior. Inside is
the belly. Although there is nothing
inside, it is still not empty. When it
is hollowed out, it resembles a valley.
While the sounds of the strings go forth to the outside, the music
resounds and fills the inside.
Harmonics and unstopped string tones, high and low are all
produced. One must consider the quality
of the material used. Also know that it
depends on the thickness of the surface (board). If it is too thick, then the music is repressed and cannot rise,
and thus loses its clarity. If too
thin, then the music is superficial and not full and thus becomes empty and
fleeting. So then there is a
distinction between the thickness and thinness. But one can only guess at the way it should be done; there is no
definite method. This is because there
are differences between softness, hardness, and density in materials. There is also the question of whether or not
the resin has been removed from new or old materials. So one has to do it according to the materials and there are no
hard or fast rules when it comes to thickness.
When constructing, one will certainly have to test it at various times
in order to make adjustments.
The method: It is necessary to draw a center base line
on the inner face of the ch’in. Now
draw a crosswise line for the beginning of the nape, a 
form for the cap, and lines for the rims
around the sides. These should all be
the same as the bottom in order to facilitate matching up [ between the top
and the bottom.] Further draw out
lines for the na-yin (納音) (sound retainers) at the dragon
pond and phoenix pool. These sound
retainers should be equally long with the pond or pool, respectively, but
should be bigger around by 3/10’s of an inch.
At the places where the wild geese feet are located, leave some wood according to the form of the
base in order to help strengthen the holes for the feet. All the places in the belly where wood
should be left match up with equivalent places on the bottom board. When all the lines have been drawn, then dig
out the cavity. From just within the
rims on either side, out to the middle, it should be shallow, (gradually)
getting deeper. One should
approximately dig out 2-3/10’s of an inch.
One should dig out a little, then put it (the top and bottom) together
and test the sound at various times. [
It cannot be carved too deeply, lest the face board be thin, the sound then
becoming empty and dissipated. This
then is hard to repair! So then one
must carve out a little and test it, taking it through the stage of retaining
(wood) or discarding. Do not be afraid
of the work involved in putting on the strings.] The goal is that the musical sounds should be clear and full and
not empty or dull. If the
distinguishing of the sounds is not done in a masterful manner, then one might
take emptiness for brightness, or dullness for fullness. Often because of the desire for a booming
sound, someone will go to excess in terms of thinness. Or they may make the ch’in noisy and often
they will not know it. Now one should
leave wood to fill in around the bridge and nut. If here one carves too near or even to the point of breaking
through, there will be nothing for the sound to rely on and it will on the
contrary not be transmitted.
Or if
one leaves too much wood in these spots, then the sound will not be
released. One needs to be very
circumspect in determining this. By all
means do not be neglectful. Be
especially careful.
As for the sound retainers, one must consider their height; that is, the form should be bulging. This is because the pond and the pool are
the places where the musical ch’i[1]
is transmitted (to the outside). The
ch’i must be held and restrained lest it leak out and scatter. Also in so much as this place with the belly
is broad and empty, it is possible that the ch’i might dissipate and not build
up, so a rim is put around the borders of the pool and pond in order to collect
the breath. This is one of the marvels
created through the experience of Lei Wei.[2] The sound retainers above and below, left
and right, gradually bulge up like the backbone of a sword, without exposing an
sharp center edge. If they are too
tall, they will block the mouths of the pond and pool and cause the sound to be
stifled. If (these places) are closed
up correctly then it will be made very well indeed.
Now set up the two pillars, heaven and earth.[3] The heaven pillar is set up at the border of
the third and fourth hui.[4] The earth pillar is set up at the border of
the seventh and eighth hui. Heaven is
round and earth is square.[5]
The diameters should be 3/10’s of an
inch. They should be as tall as the
inner cavity and should reach up to the face and down to the bottom. (Their purpose) is to prevent warping.[6]
Now as for the method of carving out the belly cavity, there
should be equal (depth) over the whole.
Do not let there be any excessively thick or thin places. The best thing to do is mark out clearly all
the demarcations and straighten things up so there are not any obstacles.
After this, carve in the date, an inscription, and the name of the maker on the left and right of the sound retainer (for the dragon pong). All this is brought together within and can be seen from without. Do not hide it away deep in the inside.