“Feiquan” Qin

[“Feiquan” Qin]

“Feiquan” Qin, Tang Dynasty, with a total length of 121.6 cm, a hidden space of 111.8 cm, a forehead width of 18.5 cm, a shoulder width of 20.1 cm, a tail width of 14.4 cm, and a thickness of 5.5 cm
The “Feiquan” zither, in the form of continuous beads, was made in the late Tang Dynasty. According to the cloud, “Lianzhu style” was created by Li Yi, a scholar of Sui Dynasty. Fir wood is carved, painted with chestnut shell color paint, repaired with large pieces of red paint, pure antler gray fetus, and ice veins between the belly of the snake are broken. The clam emblem, the red sandalwood tail, the white jade bar are as moist as the fat, and the green jade feet
The radian of the panel is smaller than that of the “Jiuxiao Huanpei” and “Da Sheng Yinyin”, so the thickness of the neck and waist adduction is not large, so the piano only round the two corners at the bottom, which is slightly round on the surface, and should be the Lei’s piano of the late Tang Dynasty
Inscription on the back of the piano, the name of the piano “Feiquan” in cursive script on the top of the Longchi, and the seal script “the second year of Zhenguan” in both sides. The seal script “Yuzhen” at the bottom of the Longchi is generously printed, and the seal script “Jin Yan Lu” is double-sided and rectangular. On both sides of the pool are carved the seal script Qin inscription: “The jade of the high mountains and the golden sound of the empty valley. Most people treasure it, and the philosophers are close to the Qing Dynasty. They can reach the ideal of comfort and contentment. The heaven and earth are in harmony, and all things are prosperous.” The name of the “Feiquan” Qin, the “jade vibration” seal and the seal script Qin inscription are all pasted with gold, and the broken lines have been connected, which is the same old engraving. “The second year of Zhenguan” and “Lu Xiang, the bachelor of Jin Yan”, were later in the second year of printing, and Lu Xiang was born between the Five Dynasties and the Northern Song Dynasty
In 1936, the “Jin Yu Qin Magazine · Ancient Qin Interview Record” recorded that the instrument had the words “Wang Kun of the ancient Wu Dynasty rebuilt it” in ink, which is no longer visible today, so we know that the Qing Dynasty had a laparotomy. During the period of the Republic of China, this instrument was collected by Li Boren. Li recorded the history of the instrument in his “Records of the Xuan Lou Xian Wai”. About the autumn and winter of 1944, “Feiquan” was sent to a bank in Di’anmen Street as a loan pledge. After Mr. Guan Pinghu’s identification, his disciple Cheng Zirong entered the Tibet with a large amount of money. In the summer of 1945, “Feiquan” sent Mr. Guan Pinghu for repair, and then the war of resistance ended. The piano was then moved around in Mr. Guan’s sister-in-law Qin Room, and was retrieved by Cheng Zirong after liberation. At the turn of spring and summer in 1979, Cheng Zirong wrote a letter from his hometown Pinglu to the state leaders at that time and was willing to donate. Later, it was approved by the National Cutural Heritage Administration and collected by the Palace Museum