page_title: Guqin construction
section_title: Duanwen
hierarchical_section_title: Guqin construction / Forms / Duanwen
caption_attribution_description: Inscription at the back of the qin Hewu Longxiang (鶴舞龍翔)
context_page_description: The construction of the guqin Chinese zither is a complex process like any other musical instrument. However, there is much symbolism in the choice of materials, the shape or form of the instrument that are important things to consider when creating a qin.
context_section_description: On the surface of the qin there may be cracks or patternations called duanwen 〔斷紋/断纹〕. These cracks appear after a long period of time due to ageing. The wood's water content slowly evaporates, so the wood retracts; the lacquer, however, does not, so it cracks. It should be distinguished from cracking or warping from the wood, which creates structural cracks. Duanwen are highly prized by the qin connoisseur because they not only prove the qin's antiquity (to a certain degree of error), but are also pleasant to look at. There are many names for different cracks, such as "snake-skin cracks" 『蛇腹斷』, "ice-crack markings" 『冰裂紋』, "cow-hair cracks" 『牛毛斷』, "flowing-water markings" 『流水紋』, "running-cloud markings" 『行雲紋』, "tortoise-back markings" 『龜背紋/龟背纹』, "plum-blossom cracks" 『梅花斷』, etc. Modern qin makers can artificially create cracks by first heating the lacquered qin for a few hours until it is hot, then immersing it in a bath of ice cubes, thus the wood retracts quickly causing cracks on the surface of the qin (this is not a new method). Of course, this method does not create the best of cracks. Although a qin may have duanwen, one can still play it, providing the duanwen is not flaking off or lifting off the surface. Otherwise, it would have to be re-lacquered, partially if the flaking is not too severe, entirely if it is literally unplayable. Qin makers tend to avoid removing the old lacquer when re-lacquering and maintain as much of the duanwen as possible since real duanwen cannot be created overnight but through centuries of natural ageing. Some makers when re-lacquering would use a different hue or colour of lacquer so that the lacquer underneath can contrast with the new, and thus be seen more clearly. The colour of the lacquer used can range from extreme black to brown to purple to red (in the rarest cases). Colour is achieved by using minerals or chemicals added to the processed lacquer.  The most beautiful duanwen are, understandably, from old antique qins. 
  Another property of duanwen is that the lacquer does not stick to the wood so tightly, therefore, the sound is not restricted as in a newly lacquered qin.
caption: The back of the Hewu Longxiang qin with its name inscription
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