2021蕉葉琴0416進度

2021-04-16

蕉葉琴承露鑲嵌

Jiaoye Qin’s Chenglu string bearing part embedding

古琴的嶽山以及承露就如小提琴的琴橋或吉他的琴枕。它承載著琴弦的張力和震動，而嶽山承露配件的厚薄、體積、鑲入深度、密度與勁度的不同都會對琴弦在擺動時對發聲部位的傳動效率產生影響。

由於古琴製作會因為木料可加工寬度、紋理分佈、勁度係數、設計等原因，其頭尾兩端的弧度會因此而各有細微變化。正因為琴面弧度的變化而導致琴頭部位的嶽山高度發生變化，加上由於現有硬木配件的尺寸限制與最佳節省用料等原因，從而引伸出一個最佳鑲入深度。

所以在鑲嵌工作前需要經過一系列的琴面弧度與夾角估量，以確保鑲入插槽的雕刻深度以及配件的可鑲入與預留高度。而在這個環節裡，由於嶽山前的弦面高度和琴頭曲面下垂空隙，從而引出不同演奏流派的彈奏手法與風格，而這也是因應演奏流派不同而量身定制的環節之一。

The Yueshan and Chenglu of the Guqin are like the Violin bridge or the Guitar Nut. It bearing the tension and vibration of the strings, and the difference in thickness, volume, embed depth, density and stiffness of the Yueshan and Chenglu accessories will affect the transmission efficiency of the sounding part when the strings swinging.

Since the making of Qin’s wood workability width, texture distribution, stiffness coefficient, design or some other reasons, its head to end of the arching will thus have minor changes. Because of changes in arching of the soundboard and led to parts of the head side Yueshan’s height changes, In addition, due to the size limitation of the existing hardwood fittings and the best saving of materials, an optimal embedding depth is derived.

Therefore, it is necessary to go through a series of soundboard arching and string angle estimation before the embedding work to ensure the engraving depth of the insert slot and the insertable and reserved height of the accessories. And in this part, due to the height of the string surface in front of Yueshan and the sagging gap of the Qin’s head, which leads to different playing techniques and styles of different playing genres, and this is also one of the parts tailored to different playing genres.