Assignment Asia: Reviving the Ancient Art of the Guqin

My first encounter with the guqin should have been around 2005 that sound was quite magical to me My name is Sui Yiyang I am 32 years old I am a independent guqin maker I have been making guqins for ten years I've been playing guitar drums and bass since I was young—they 're completely different from the sounds I'd encountered before Actually its technique is slightly simpler than that of Western instruments but the musical expression it seeks is more difficult You need a piano to learn piano so I bought one like that a famous maker's piano which cost quite a lot back then Then at a piano event later on I met someone who made pianos himself and he said "This is my piano " Where things weren't quite ideal compared to Old Qin he made a surprisingly reasonable point and at that moment I just felt genuinely happy about him so we agreed on a time I went to his studio over the weekend and after I'd finished looking around he explained to me how the instrument was made what the tradition was like and what the current craftsmanship looks like giving me a general overview Then at that time I developed an interest in making pianos Once you've made the decision you're determined to see it through back then I rented a room bought raw materials and started experimenting right away When you 're just beginning every single aspect feels difficult Because you're unfamiliar with this instrument—you don't know how to make it yet it's beautiful and the sound it produces is reasonable so you must rely on the recorded experiences of ancient people I consulted further with existing artifacts from museums comparing the surviving ancient instruments from each era with the writings of the musicians from those times when both sets of evidence aligned Practice it yourself The ancients set very detailed standards leaving creators only limited room for expression—limited to sound tactile feel and lacquer color—but in fact the ancients themselves also valued simplicity and understated beauty in color When Qi Gang saw the brightness on the zither he thought it was too glaring the ancients believed such shine would overpower the scholarly room's aura so they would try to dull the luster by rubbing it away Ancient people called it "retro luster like black wood " today we're aiming for that exact black wood effect When I first started making the zither I couldn't achieve the effect the ancient craftsmen required with this black lacquer but later through a friend's connection I learned that someone from the Academy of Arts and Design at Tsinghua University had studied this restoration technique in Japan Then no one recommended me so I went there myself they wouldn't accept this outsider Later I showed them the work I'd made—photos—and told them I had some experience with repainting and since they saw I was sincere they said "Why don't you stay and give it a try Bring along some unfinished pieces each day and work under their guidance " Learning this quick restoration technique—actually this craft originated in China passed from ancient Chinese people to Japan where it was perfectly preserved Once you master brushing and polishing black lacquer The overall area and craftsmanship have achieved this result I went to observe how some violin and guitar makers understand the relationship between materials and sound allowing me to return to the guqin from an entirely new perspective Explore the essence of a traditional instrume It takes me over two years on average the wood body must endure one heating season the ash body must endure one heating season and after the zither is completed it must remain in my hands for one heating season After these three heating seasons if this piano remains free of warping crackling sounds or any minor deformations that affect its tone it can be considered a合格 instrument The most expensive one I have sold for 280 000 at the Poly Autumn Auction The sound and this tactile feel are definitely exceptional and there are those who truly appreciate it The main raw materials used for guqin are essentially just five or six types and from 2012 to the present I have had to visit remote mountain villages each year to meet with the collectors of these raw materials For example in Hubei's mountainous regions observe how they collect natural lacquer then head to Chongqing's Panlong Ancient Town to witness how they harvest hemp and weave family genealogies Recently I visited Inner Mongolia Go watch them collect shed antlers from wild deer and then the process of boiling them down to make antler frost Every time I arrive at a new place every time I witness the process of raw material being gathered I feel a deep sense of reverence toward the material itself Like a dragonfly skimming the water's surface the fleeting ripple of droplets—when it comes to the guqin playing the instrument alone is like seeing only one face of a Rubik's cube The guqin has many facets when these numerous aspects come together they are called qinxue So I hope to share this sense of beauty with more people and I feel content quietly being a craftsman making plans each morning What I aim to accomplish today Writing summaries every morning and evening And after finishing all my work for the day It gives me a sense of peace and fulfillment that no other profession can provide