太古遺音琴0828進度

2021-08-28

型器與氣質細修

由於師曠琴款的設計獨特，要做到大氣又不突兀，就需要從整體型器著手細修。其中介乎於中間略上的巨大圓形是既往所有古琴款裏所沒有的大膽設計，更由於琴身出現一個巨大的圓形而讓製作因應作出調整乃至調音側重發生微調。

在細修師曠琴款以前，首先要梳理琴家喻曉的“唐圓宋扁”，及明清民國的風格分界線。其中“唐圓宋扁”，我更偏向於理解為其曲線美學上關於弧曲線與平直線之間的切換比例。唐代審美偏向以弧線與弧面作為高比例使用，宋代則以弧線銜接扁平面，至於明民國則偏向西洋化。

至於我在師曠琴的設計定位中，以唐型、宋氣、明配三種等比糅合。尤其值得一提的是護軫參考明代宣德爐的簡潔設計，流暢銜接唐圓與宋扁且不顯累贅。

Because the unique design of ShiKuang Qin, to be elegant and coordination, it is necessary to start with the fine shaping of whole body. And among them, a huge circle slightly above the middle is a bold design that is not appear in all Guqin models in the past, and because of a huge circle on the appearance, the Qin making is accordingly adjusted and even the tuning emphasized.

Before the ShiKuang Qin fine shaping, it must combing the meaning of the well-knowing as “Tang Yuan Song Bian" cleary (Tang Dynasty’s rounded and Song Dynasty’s flated), and the style dividing line of the Ming and Qing Dynasties. Among them, “Tang Yuan Song Bian", I am more prefer to understand it as the switching ratio between arc curve and flat straight line in the aesthetics of the visual. The aesthetics of Tang Dynasty visual it more tend to use the arcs and curved surfaces as high proportions, while the Song Dynasty used arcs to connect flat straight surfaces. As for the Ming Qing and the Republic of China, they tended to be Westernized style.

As for my position with the design of Shi Kuang Qin, I combine the three traits of Tang’s shape, Song’s temperament, and Ming’s details. In particularly that the Hu Zhen，I referred to the simple design of the Xuande furnace in the Ming Dynasty, smoothly connecting “Tang Yuan" and “Song Bian" without being superfluous.