Qin Exhibition case
The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture, 1723–35
According to ancient Chinese history, Qin was made by the Mythology legends Fuxi, Shennong, Yellow Emperor, Emperor Yao, Emperor Shun. There are five strings on this instrument which represent those five legends. During the Zhou dynasty, King Wen and King Wu decided to add another two strings on the Qin to commemorate their greatness.
Qin was used in ritual ceremonies of the imperial court, such can be seen in the court paintings of imperial sacrifices of the Qing court.
Yayue was originally a form of classical music and dance performed at the royal court and temples in ancient China. Yayue divided instruments into different groups and Qin plays a role in the Silk group as an important instrument in this ancient band.
Ming Dynasty literati who claimed the right to play the qin suggested that it be played outdoors in a mountain setting, a garden or a small pavilion, or near an old pine tree (symbol of longevity) while burning incense perfumed the air. In this period of time Qin was defined as a Self-cultivation instrument. It always appears with the poem and painting as a symbol of literati.
To present this instrument the best way for the audience is to present vertically. Normally it is hanging on the way which means the backside of the instrument will not present. However, the backside of it contains the name of this Qin or the poem about it. My idea is about to create a container that can see from both the front and backside of this instrument. In order to tell more stories by the text on its body and show the audience that this instrument has a spirit behind.
The front of the exhibition case has two panels which can be open to the side. With the information of curation about Qin on the inner panels.
With the open circle on the back of the exhibition case, audience can see the back of the Qin instrument. Normally the name of the Qin or poetry is on the backside of Qin.