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2.整体风格变化 琴的整体风格的变化,往往与时代密切相关。同样的式样,在不同的时代,往往体现出不同的风格。因此,把握这方面的变化便显得至关重要。 吴钊先生曾对几种常见琴式的时代变化做过描述,例如:伏羲式和连珠式,在唐代面、底均较圆,肩、腰的转折处弧度较大;至宋、元时则面弧底平,肩、腰转折处棱角分明;再到明初,则面、底变得宽而且扁了。仲尼式是琴器数量最多的一种式样,因而情况也最为复杂。大致说来,南宋以前是“肩垂而阔”,琴体偏厚;南宋时是“耸而狭”,琴体渐薄;元至明初肩宽而扁,边棱带有圆势;万历、崇祯时则肩狭而棱角分明。
2. The overall style change The overall style of the piano changes, often closely related with the times. The same style, in different times, often reflect different styles. Therefore, it is crucial to grasp the changes in this area. Mr. Wu Zhao once described the changes of several common Qin styles, for example: Fu Xi and Lianzhu, with a rounded surface at the end of the Tang Dynasty and a large arc at the turning point of the shoulders and the waist. To the Song and Yuan Dynasties Then the arc at the end of flat, shoulder, lumbar turning point angular; to the beginning of the Ming, the surface, the end becomes wide and flat. Zhong Ni style is the largest number of a style of instrument, so the situation is also the most complicated. Broadly speaking, the Southern Song Dynasty used to be “shoulder-length and broad” with partial thickness of the piano body. When the Southern Song Dynasty was “towering and narrow,” the body of the piano was gradually thinning. Yuan Shui to the early Ming Shoulder and flat edge with a rounded edge; Wanli Chongzhen shoulder narrow and angular.