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Sui and Tang Dynasties

The zither making craftsmanship in the Tang Dynasty has achieved outstanding achievements, regardless of quantity and quality, and many skilled craftsmen have appeared among the people. The most popular zither masters of zither came from the Lei family in Sichuan. Among them, Lei Yan was the first one, who worked as a attendant in Emperor Xuanzong of Tang, and followed by Lei Xiao, Lei Wei, Lei Wen, Lei Hui, Lei Chi, etc. Lei Wei is particularly famous. It is said that he was guided by gods, and it is also said that he often went to the deep mountains and forests on strong winds and snowy days to listen to the sound of wind blowing trees to distinguish the good materials for zithering. The zither they were taking was called "Lei Gong Qin" in the Dali (766-779 AD). "The mountain cannot be pointed, and the string does not preface; its sound comes from the two ponds. Its back is slightly bulging, like a leaf. It is about to come out and overflow, but it cannot go away, but it has the lingering charm. It is so exquisite" (Su Shi's "Miscellaneous Books and Qin Shi"). During the Zhenyuan (785-804 AD), the zither made by the Lei family in Chengdu was "a number of players". At that time, Shenxiao was also produced by the Jiangnan region. Zhang Yue and other famous piano makers were also loved by people. From the famous guqin, the zithers who were fond of the past qin were regarded as treasures of the past qin. In the Song Dynasty, many people forged the lei qin of the Tang Dynasty. This style of counterfeiting has been passed down through the Yuan, Ming and Qing qins and continued to the modern era. There are also a small number of treasures of the Tang qin that have been preserved to this day. The "Nine-Secret Pink" qin (Tichuan Palace Museum, Beijing) presented by the Lei family in the prosperous Tang Dynasty, experts believe that it is not only the ancient one of the seven-string qins that has passed down from generation to generation, but also the most outstanding representative of the Tang qin.

After the establishment of the current system of the guqin, the details were still constantly improved to achieve perfection. The guqin in "The Northern Qi proofreading Picture" (contained in the Boston Museum in the United States) painted by Yan Liben in the early Tang Dynasty, with a round head and wide shoulders, a slightly narrow middle part, and a phoenix wing to the tail. This shape is more beneficial to improving the sound of the guqin.

Experts identified a total of sixteen more reliable Tang qins. Under the premise of the consistency of basic shapes, they can be divided into many different styles according to their different characteristics of undulating and shrinking appearances. If they are classified according to the zither styles in the later generations, there are sixteen Fuxi styles, one Shennong style, three Fengshi styles, two consecutive pearl styles, two Shikuan styles, one Liezi styles, and one Zhongni style. Because the only one Zhongni style qin is still a work from the late Tang Dynasty, it seems that the Zhongni style qin was not very popular in the eight hundred years from the Eastern Han Dynasty to the mid-Tang Dynasty. It was only after Confucius in the middle and late Tang Dynasty was praised by Confucianism as a representative of Taoism that the Zhongni style qin gradually became popular. By the time the Song Dynasty became popular, and the situation of one was set on one, and other styles of pianos became increasingly rare.

The Zhongni style zither of the late Tang Dynasty was more common than that of the same zithers in later generations. The Zhongni style zither of the Tang Dynasty generally did not have this characteristic except imitating the Tang Dynasty works.
Chapter completed!