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Special Exhibition

Strings of Culture: The Qin, Art, and Literati Life

    The qin, a seven-stringed zither, boasts a millennia-long history that goes back to at least the early Warring States period, with physical specimens surviving to this day. The renowned late-Qing Taiwanese scholar Lin Zhanmei (1821–1868) said:“In the delicate charm of the seven strings, the mountains and waters start to resonate as one. A rare sound, a subtle flavor, the unrefined ear knows not its sound.”The qin’s ethereal melodies suit it both for solitary practice and intimate gatherings. The complex fingerings of the instrument and the expansive interpretative possibilities of qin score allow players to express their own personal emotion and artistic vision. Thus, the qin has historically been embraced by scholars and refined individuals as a beloved pursuit and companion for life—a seemingly niche but enduring tradition.

    The qin’s dignified tone and difficulty of technical mastery are believed to breed character. Players often sit alone in a quiet room, with incense wafting through the air, or immerse themselves in nature, with the rustle of pine trees and the murmur of streams, projecting a spirit of solitude that is not loneliness, and an essential simplicity and self-sufficiency. The beauty of the qin’s sound, the subtlety of its techniques and the depth of the performer’s interpretation require a degree of knowledge and insight to fully appreciate. Finding a kindred spirit who resonates with such art is rare indeed. These factors have elevated the qin to a transcendent symbol.

    This exhibition presents paintings and artifacts featuring the qin, qin players, and related anecdotes, along with accessories such as incense implements. It illuminates the qin’s cultural significance and the literati lifestyle. Although silent, the artworks on display convey the spiritual essence of qin players, using the instrument and its accoutrements to offer a window onto the refined world of the ancient literati.

Exhibition Information

Event Date 2024-11-05~2025-02-02
Location 3F S302

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Ming Dynasty (1368-1644)

The Zither Master by Tang Yin (detail)

The Ideal Life of a Noble Recluse

Tang Yin (1470–1523), courtesy name Bohu, was hailed as one of the Four Masters of the Ming Dynasty. This painting portrays Yang Jijing (c. 1477–after 1530), a renowned qin (zither) master from the Wu region. While other portraits of Yang exist, including a small portrait by Wen Boren in this museum’s collection, Tang’s approach here is uniquely creative and draws parallels between Yang and the esteemed poet Tao Yuanming (c. 365–427), known for his simple lifestyle and love of wine, to craft an image of otherworldly refinement.
The central figure wears a hemp kerchief and a white robe, echoing the style of Six Dynasties literati. His hands are poised over the qin strings, eyes gazing into the distance with a faint smile. This moment captures him on the verge of playing, suggesting a deeper meaning beyond the music itself. The surrounding landscape and objects symbolize his noble character and reclusive nature. Tang’s fluid brushwork and subtle palette create an atmosphere of serene contentment. This portrayal transforms Yang into a Tao Yuanming–like figure, embodying the ideal of a virtuous gentleman who chooses a life of cultured seclusion.

Late Yuan and early Ming Dynasty (14th century)

“Ice on a Snowy Night” zither by Zhu Zhiyuan

This qin (a traditional Chinese zither) is shaped in the Confucian style. The soundboard was crafted from paulownia wood and has a cracked lacquer surface. The instrument is adorned with jade tuning pegs and feet. Thirteen hui (position markers) are inlaid with brass tubes. The bases of the markers are labelled with the names of the twelve pitches in gold leaf, protected by glass. At the tail of the qin, the names of the seven strings are written in black characters.
The back of the instrument bears its poetic name, “Ice on a Snowy Night”. Above this, faint traces of what was perhaps an earlier name, “Melodious Sound”, can be seen in gold-filled seal script. Inside the sound hole, the maker’s mark is inscribed in red inlay: “Made by Zhu Zhiyuan of Chicheng, style name Shen'an”.
Zhu Zhiyuan was a famous qin maker during the late Yuan and early Ming dynasties. While many qins bear his signature, it is worth noting that some are later imitations from the Ming and Qing periods. This particular instrument shows evidence of repair from various times.

Early Qing Dynasty (1644-1735)

Seven Sages bamboo brush holder

The Qin and Literati

Carved from a single bamboo stem, this brush holder depicts the famous “Seven Sages of the Bamboo Grove” from the Wei-Jin period. Using deep-relief techniques, it portrays the scholars gathered in a bamboo forest engaged in activities—playing chess, drinking wine, and playing music—that reflect historical accounts of these figures.
The solitary qin player likely represents Ji Kang, known for his musical skill. Wearing a hat similar to Su Dongpo’s, he sits formally at a qin table in a pose symbolic of his unyielding character. One can almost hear his legendary “Guangling San” melody. In contrast, carefree spirit Ruan Xian reclines casually, drinking, with his lute set aside.
With its mix of high relief, openwork, and full sculpture techniques, this piece exemplifies the renowned bamboo carving art of early Qing Jiading, of which the brush holders were particularly prized by the literati.

Northern Song Dynasty (960–1127)

Tang-style lobed mirror with a divine zither player

The Qin and Immortality

The qin zither holds an elevated position, and skilled qin players often attain a god-like status.
The Tang-style lobed mirror portrays a qin player seated on a high chair. The scene is rich with auspicious symbols: a phoenix, celestial mountains, auspicious clouds, rising sun, and turtle gliding among lotus leaves. These motifs all hint at the musician’s divine status. The identity of this figure is subject to debate—some scholars believe it to be Bo Ya; while others, on the basis of an inscription found on a similar mirror, suggest it might be Hou Jin, a recluse from the Han period. It is worth noting that Hou Jin was actually known for playing the zheng, a different stringed instrument. Although this mirror style flourished during the Tang dynasty, this particular piece is a Song-dynasty replica.

Mid-Ming Dynasty (15th century)

Gourd-shaped vase with eighteen scholars in underglaze blue

The Four Scholarly Pursuits

This gourd-shaped vase features intricate underglaze-blue decorations in multiple layers. The upper half depicts eighteen scholars and their attendants engaged in scenes representing the four classical scholarly pursuits: qin, chess, calligraphy, and painting. Fine cloud motifs elegantly separate these vignettes.
While evoking the eighteen scholars recruited by Tang Emperor Taizong, the figures are not meant to portray specific historical individuals. Rather, they embody the scholarly ideal of refined activities, highlighting the erudition and cultural sophistication of the literati.
One notable scene shows a scholar seated at a table playing the qin, with three others listening attentively nearby. An incense table beside the qin exemplifies the exquisite attention to detail, creating the image of a cultured atmosphere where music and fragrance intermingle.

Late Ming to early Qing Dynasty (1567-1735)

Qin zither-shaped jade ornament with case (detail)

Beyond Strings

The qin’s deep connection with the literati lifestyle gave it significance beyond mere musical function.
The jade ornament meticulously portrays the parts of the qin on both sides, with one notable exception: the front lacks strings, so this ornament can be said to represent the classical idea of a “stringless qin”. According to his eponymous tale, Tao Yuanming famously played a stringless instrument, declaring, “The essence of the qin matters more than its sound.” This reflects the literati attitude of valuing the spirit of the instrument over technical prowess. The jade piece is housed in an ivory qin-shaped case.

Late Ming to early Qing Dynasty (1567-1735)

Incense holder with cloisonné chrysanthemum design Copper spoon and sticks included

Life with the Qin

Playing the qin was believed to cultivate the mind. The player’s mental state was paramount, with enthusiasts often burning incense and washing their hands before playing. Incense accessories thus became essential accessories.
The incense holder contains tools for incense burning. Crafted from gilt bronze, it is adorned with chrysanthemum patterns in cloisonné enamel. From the Ming dynasty onward, such holders joined incense burners and boxes to form the classic “three-piece incense set”, a staple among cultured enthusiasts.