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The quqin (ancient zither), China’s ancient and venerated 7-stringed zither, during its long history has taken several forms. For many, the double-waisted profile of the classic “Confucian style" qin is the most familiar of the twelve or so that appear. This example known as a "banana leaf style" ( 焦葉) or Jiaoye pattern, is a popular variation taking its name from its undulating sides. Other construction elements like the 13 mother-of-pearl buttons (hui) that indicate finger positions remain the same. Two inscriptions, one referencing the owner's discovery of the instrument in 1872 and its restoration, the other relating the story of Zhong Ziqi and Yu Boya appear on the back along with a seal bearing the instrument's name, "Xiangpu's Treasure".

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  • 1826 / 1875, China
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  • The quqin (ancient zither), China’s ancient and venerated 7-stringed zither, during its long history has taken several forms. For many, the double-waisted profile of the classic “Confucian style" qin is the most familiar of the twelve or so that appear. This example known as a "banana leaf style" ( 焦葉) or Jiaoye pattern, is a popular variation taking its name from its undulating sides. Other construction elements like the 13 mother-of-pearl buttons (hui) that indicate finger positions remain the same. Two inscriptions, one referencing the owner's discovery of the instrument in 1872 and its restoration, the other relating the story of Zhong Ziqi and Yu Boya appear on the back along with a seal bearing the instrument's name, "Xiangpu's Treasure". (en)
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  • 2016.179.1
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  • The quqin (ancient zither), China’s ancient and venerated 7-stringed zither, during its long history has taken several forms. For many, the double-waisted profile of the classic “Confucian style" qin is the most familiar of the twelve or so that appear. This example known as a "banana leaf style" ( 焦葉) or Jiaoye pattern, is a popular variation taking its name from its undulating sides. Other construction elements like the 13 mother-of-pearl buttons (hui) that indicate finger positions remain the same. Two inscriptions, one referencing the owner's discovery of the instrument in 1872 and its restoration, the other relating the story of Zhong Ziqi and Yu Boya appear on the back along with a seal bearing the instrument's name, "Xiangpu's Treasure". (en)
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  • 1826 / 1875, China
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