As for the making of this hallowed form, it has its origins long ago. As for the qin, as an instrument it has a structure that is meticulous, and meaning that is profound. In ancient times, when Fuxi ruled the world, he examined all musical sounds and, because all sounds are interconnected, sought to create an instrument that would fully embody the principles of tuning and temperament. Then through a broad consideration of many possibilities he figured out what it was. So selecting some wutong wood he crafted an elegant object, giving it form with the name "qin".

"Qin" is the same as "jin": "restraint". It brings restraint from the heterodox and preserves the proper qi; thus, the qin is the music of sages and worthies, capable of moving heaven and earth and stirring spirits and deities. The principles of the qin’s structure and meaning are just this. The ancient sages who crafted the qin did not adhere to a single form, yet they followed certain symbolic representation in their designs, establishing a fixed system.

琴額長二寸四分，以象二十四氣；嶽廣三分，....

(Thus,) the qin's "forehead" is 2 cun 4 fen in length, thereby representing the 24 solar terms. (Meanwhile), the bridge（called "嶽 mountain", here written 岳) is 3 fen wide...,

....以象「三才」。嶽內取身，三尺六寸（六分！），以象其日三百六十有六。 龍齦其折勢四分，以尚四時，共長三尺九寸一分，成於三極。於九九者究也，復變而為一之義也。

....thereby representing the "Three Realms" (heaven, earth, humanity). The 嶽內取身 whole body under the "mountain" is 3 chi 6 cun (6 fen!), thus representing the 366 days (of the year). The "dragon gums" seem to be cut up into four sections aligning with the four seasons; its length of 3 chi 6 cun 9 fen embodies the "three extremes" (also heaven, earth and humanity). As for 9 and 9, this represents completion: repeatedly changing to become 1, the beginning of propriety.

上穹隆以象天，而圓其面；下方輿以法地，而平其底。中虛含氣，外響應徽。 徽十有三，其十二法六律六呂，其一處中者，元氣之統，以象閏，則一陰一陽之道，備數也。 律有長短，故徽有餘促。當徽則鳴，差徽則否。亦猶氣至灰飛，時移應正，神理不測，其在兹乎？

The upper body arches like the heavens, and the top surface is rounded accordingly. The underside is as flat as the earth music be. The hollow interior contains its life force, while the outer surface resonates in accord with the hui markers. The thirteen hui markers consist of six 律 lǜ, six 呂 lǚ and one in the central position. This single central marker represents the primordial breath and symbolizes the intercalary month, thus completing the cycle of yin and yang. The 律 lǜ have their lengths so the hui placements have corresponding distances. When one plays exactly at a marker, the sound rings clear, but if slightly off there is no resonance. This mirrors how the arrival of qi causes ashes to scatter, and with time this aligns properly. Such divine principles are unfathomable; is that not what is happening here?

上為天統，下為地統，中為人統。抑揚之除，上取泛聲，則輕清而屬天；下取按聲，則重濁而為池。 不加抑按，則絲本之聲均和而屬人。

(Getting back to the three realms), the upper register controls heaven, the lower register controls earth, and the middle register governs humanity. In regulating the rise and fall of tones, the upper register produces harmonics that are light and ethereal, the lower register produces stopped tones that are deep and rich as a hidden abyss, the middle register consists of (open string sounds that are) natural, unaltered tones that are balanced and harmonious. Because no pressure is being applied then the fundamental string sound remains even and harmonious, thus corresponding to the human realm.

刳其中則太虛之理具，絃其外則妙用之應彰。琴鳴因絃，絃鳴因木，則耳於絲木之上， 不足以聽其聲，由池沼之間而聽焉，則無餘矣。是以知妙用所施，不離太虛。本末相因，固如是也。

By hollowing out its interior, the principle of the Great Void can be embodied, and the strings stretched on its wooden surface manifest the marvelous responses of its sound. The qin sings because of its strings, and the strings resonate because of the wood. Thus the ear may be right above the silk and the wood, but this is not sufficient for fully grasping its sound. Instead, one must listen from between the resonance pools (池沼, i.e., the sound chamber) to fully listen, for then nothing is left unheard. This thus reveals that these mystical functions inseparable from the Great Void, and that the root and its branches are interconnected: indeed that is how it is.

(The symbolic anatomy of a qin; unnumbered in the original:)
• The head (top) of a qin is called a "phoenix forehead"
• The lower part us called "phoenix nest".
• The area behind the bridge ("mountain") is called the "dew collector" or in common parlance a "mountain skirt".
• The phoenix tuning peg holes are called tuning peg sockets.
• The bridge's structure is mountainous and tall, shaped like an actual mountain range.
• A "phoenix crop" is the qin's neck, called a mouthpiece
• As for the human form, this refers to straightness of shoulders and back. (On a qin) "dragon waist" refers to its curves (in the middle), resembling a dragon. This is also called a "jade maiden waist", emphasizing its slenderness."
• From the shoulders to the waist (a qin) overall resembles phoenix wings, rising and spreading out.
• The dragon gums are at the end of the qin and are another name for the string support.
• The two sides of the scorched tail are called ‘sun coronet horns,’ named after their shape.
• The two lines inside the coronet are called "dragon whiskers."
• The dragon pool—since the dragon is a creature of transformation, dwelling in deep and hidden places, though its traces are concealed, its sound naturally emerges.
• The phoenix marsh — named after the phoenix, which bathes itself with grace.
• Tuning pegs (軫) literall suggest "mean "urgency"". The ancients made them of bamboo, following the idea that the phoenix eats only real bamboo seeds.
• The two corners that meet the palm are called "peg protectors".

繫絲處日鳳足，其下曰鳳腿。槽內栽天地柱。一圓一方，為琴之心膂也。

The place where the silk strings are tied is called the 'phoenix feet,' and below it is called the 'phoenix legs.' Inside the soundbox, the heaven and earth posts are embedded—one round and one square—serving as the backbone of the qin."

前前廣後挾，象尊卑也。一琴之間，其所取象，昭昭然可見於木撃之際也。

The front (i.e. top, near the bridge) is broad while the back is narrow, symbolizing hierarchy. Within a single qin, the symbolic meanings it embodies can be clearly evident just from knocking on the wooden surface.