2021年定制琴，模板選用｛太古遺音琴｝，絲弦杉面梓底，弦長暫定111cm、琴長120cm、其他測量數據待定並逐漸補全。
2021-01-10
選料
自製作規劃起，從北方訂購三套杉木進行琴型畫圖定制。
早期與有過提前製作，後訂購新料決定再做一次，而原琴則盡量與這張琴同期製作，或留待自用，而後來的一系列工藝製作紀錄則以第二次製作為准。
2021-01-20
構圖
按原定計劃開始繪製琴身各部位，而這次模板則選用｛太古遺音琴｝量身定制且盡用板材寬度。
2021-01-27
切割開型
當日氣候濕度稍高，提早開始切割外形，但未來將會降溫且起西北風，有待觀察氣候再進行下一階段。
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2021-01-27
切割開型-特別之處
側面琴身面底板紋理對接，是巧合也是精度，有待跟著下來的修琴邊以及降低整體厚度。
2021-03-11
soundboard crafting and fine shaping
For example, because its body has a circular cavity structure, the crafting method has changed accordingly. For example, the parabolic reference line on the side of the Qin body is difficult to design because of the bulging round shape, so when crafting this Guqin need to have a certain accumulation of Guqin crafting skillset.
2021-05-25
resonate structure design and crafting
The mirror designing between the soundboard and backboard constitutes the special resonate structure inside the Guqin, so the designing accuracy between the soundboard and backboard also determines the performance of the Guqin. The two boards of the Qin are positioned between four to seven emblems and between ten to thirteen emblems. However, in order to achieve accurate designing between two boards before crafting and tunning, it is necessary to finish all drilling in the backboard before, and then outline the resonate structure positioning of the soundboard under the condition of temporary bounding.
After the backboard drilling and soundboard resonate structure designing are completed, preliminary digging inside the Guqin and let the soundboard enter natural shrinkage and steady out a certain deviation, and provide a more stable reference baseline for the next progress of accessories embedding.
2021-08-28
Visual fine shaping
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.
2022-01-14
Yueshan and Chenglu embedding
Guqin accessorie parts are divided into primary and secondary, among which Yueshan and Chenglu are belongs to the main parts of sound-bearing. Its function to bearing the vibration of the strings together with the Longyin at the otherside and transmit the vibration to the entire Qin body, then converting it into sound.
As for the main parts, it occupy a considerable proportion in the timbre of the Guqin. The selection of woods, the technological structure of the embed, the scale of embed depth, and the angle of embed will affect the transmission efficiency and stress angle of the strings during vibration. And it is precisely because of this detail that invisibly affects the overall performance of Qin. Although its proportion is not so significant, but it can be described as subtle, also appears precious in craftsmanship.
However, there is also a telling in the Guqin industry that ten Qin are nine cracks have. No matter how well the craftsmanship done, it is inevitable that certain cracks will appear after a long time. Among them, the two hardwoods of Yueshan and Chenglu are embed (mount ) into the headstock of fir or paulownia make’s Qin. Due to the different seasonal shrinkage ratios of the three parts (woods), they have different shrinkage and expansion coefficients, so it is inevitable that they will appear subtle differences crevice between each other over time.
Therefore, in order to minimize the different effects of the shrinkage crevice (gaps) for the timbre, the embed process needs to take into account the antecedents and consequences brought about before the passage of time. Then it is necessary to stable the crevice and tension release directions generated by different seasonal changes, and to maintain the tensile and stress strength of the strings. In simple; the vicissitudes of life are natural as the time go by, and the tension of life is still energetic.
｛The Qin Luthier-ZiYun｝ 
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