slactions2011 installation on HK PolyU campusXYZ Qin
Version 2.228oct2011
Slactions2011
Creation of the xyzQin: an interpretation and re-creation of the Shosoin qin (金銀平文琴) Tang Dynasty (735AD) ; Shosoin Treasure House, Japan :: from rl-> sl -> rl.
Shuen-git Natasha Chow 周 旋 捷 2011
Visiting Associate Professor
Tainan University of the Arts
Taiwan
Description:
In this research-creation– the third in the serie of Digital Guqin Museum Project - we will investigate issues concerning the making of a real life Chinese musical instrument : the guqin - by deploying Virtual World 3D construction capacities and then exporting the model to real life. I will design a new guqin after the style of the locked up Shosoin qin in Nara, tentatively entitled the “xyz琴” (xyz Qin)
xyzQin research-creation
1// design template
2// cut wood, assemble into embryo
3// test sound with string
4// fine tuning, lacquering, fine tuning, polish
5// naming the qin
Technical Advisors:
Master guqin player: Sik ChingChieh
Master guqin maker: Mr. Shan ZheYuen
Making of xyz Qin 1
Picture 1// Preparation of the deer horn into proper coating grades to mix with lacquer. 600gm crushed deer horn per qin. 300coarse grade, 200medium grade, and 100fine grade. Here, we must first scrape out the marrow of the deer horn pieces. Tools: thin, flexible wood cutter type blades, w curved cutting edge
Picture 2// The open air studio of Master Shan Zhe Yuan. The studio should be well lit and well ventilated with long working tables. We will be using a lot of natural lacquer. This liquid has a slight poison people could be allergic to it. I think its good to make two qins at a time because the drying process in between makes it that you must wait, one or two will require the same window of time. Therefore I decided to make two qins, with a different skin at the finish. And a different wood base to see the two favorite woods used. Wood no 1: over 100 year old "Shan", and Wood no 2: "tong". Mr.Shan says : the two woods are very different. "Shan" wood is deeper and darker in tone, whereas "tong" is light and bright. I think making two identical design w different variables allows us to see the difference in material.
Version 1
I like this poster w the almost "arabic" font - The Dymaxion of Buckminster Fuller fame (free)- this font gives the feeling that its running, and orderly. Little hard to read. But this poster is meant to show the passage of time and idea. It shows via its components not entirely through the meaning of the text. It is readible but its appearance gives the direction and essence of the project - light, smooth, airy, inventive.
The second version (scroll above) uses a more flamboyant handwriting font (free)- "Meddon". It is angular at the turn of the letters, gives the line script some sharpness but very easily readable. I like this font very much because it connotates a fine period of baroque time - flowery, fun, adventurous (as in the 18th century, people take time to enjoy things) it has a faint reference to the period of the Shosoin qin, around 450AD (in reality) but was gifted to the Palace of Japan in 735AD so it is on record as 735AD. The slightly fancy script suits the elaborate skin of the Shosoin qin. Its part of an instrumental ensemble for the palace. The most refined and well preserved qin in current existence. I am happy that I could use this font for this poster. Each font - just like any graphics contributes to the overall feeling of a project. It says, what is the point of the project, where it is going and from where is the idea originated, aboveall, it shows visually the targeted esthetic objective, personal wishes and desire for the project of the creator-researcher.
