The brand-new Xuan Guang Wedding Series Guzheng continues the pure love story of the white lover. The colour scheme of the instrument shifts from crescent white to glaze blue, symbolizing the deepening affection from love at first sight to a cherished relationship. Radiant Wedding once expressed sincere intentions with cloud-like cherry blossoms, and now it upholds beautiful vows with brocade-like golden flowers.
Limited 6 pieces
the "Golden Flower Marriage" features a brand-new design concept, with its overall silhouette constructed using golden lines to smoothly connect the head and tail of the instrument. Its unique appearance is striking from every angle. The resonance is long-lasting and profound, thanks to the deliberately preserved thickness of the instrument body by the craftsmen, and the perfect combination with the latest developed semi-open sound box; the complex mortise and tenon structure inside the box also supports the stability of the Jin Hua Liang Yuan's sound. The sound lingers in the ear, spreading far and wide like an echo in a valley, endlessly resonating.
Japanese paulownia grows in cold climates and has a slower growth rate than its Southeast Asian counterparts. As such, Japanese paulownia wood has more compact tree rings which, when used to make guzhengs, consistently results in a beautifully layered, well rounded sound. This is a gift from Nature that each and every Xuan Guang guzheng is blessed with.
Wood grain is yet another feature that breathes life into Xuan Guang. Tree rings are the testimony of a tree’s growth, year after year. They evolve slowly into a pattern that is unique to the tree as it ages, which is why every Xuan Guang guzheng is one-of-a-kind.
50 year-old Japanese paulownia wood has the advantage of age over 40 year-old ones, as older wood not only adds to the depth and sophistication of the instrument’s voice, it also gives its wood grain a more distinctive character. Completely rising beyond the physical pursuit of sound penetration or sound definition, the wood breathes new life into the instrument, allowing it to reach for an even more transcendental level of artistry.
With a groundbreaking body design that challenges the traditional definition of the guzheng, the entire body adopts a streamlined design, presenting a more elegant and lightweight feel. From "Tiantu" to "Jinjiang.Tianzhu" and then to "Yunpu," the Xuanguang team further enhances the internal structure of the body. With unique and rare materials combined with custom-designed and crafted techniques, once again, the hall-level guzheng artwork is presented to everyone.
Designers drew inspiration from Nishijin-ori for the "Sakura Promenade" design, weaving romantic cherry blossoms by hand with gold thread, creating captivating light under the flow of beams. In the design of the instrument body, to maintain consistency with the rare base colour of Nishijin-ori, artisans expertly mixed several times to finally achieve its lustrous blue primary colour.
The guzheng lid retains the unique suspended and lift-off design, making new improvements to the original design. The angle of the guzheng lid suspension has been increased, resulting in significant advancements in the sound and usability of the guzheng.
For the first time, Japanese 24K gold lacquer and raw lacquer are used, combined with specially selected aged Indian red sandalwood. This creates a highly contemporary generation of guzheng art, complemented by its innovative body design, a masterpiece that combines tradition with modernity.
The Mountain is made of whole Indian red sandalwood, and craftsmen carefully adjust its curvature to fit into the mortise and tenon joint. The unique inclination design effectively enhances sound conduction and resonance, further elevating the sound quality of the guzheng.
The headstock box incorporates the traditional Japanese Hakone marquetry technique, using all-natural wood to create geometric patterns. The wood is then cut into "seeds" and embedded into the box of the headstock. Hakone marquetry has been passed down in the Hakone region since the Edo period and was designated as a traditional Japanese woodworking craft by the Japanese authorities in 1984. Unfortunately, the number of people who possess this skill has been decreasing, making each piece that utilizes Hakone marquetry technique even more precious.
The XuanGuang bridge is made of old material big red acid branch, and the zither maker crafts it by hand according to the body of the instrument. The zither made of old material big red acid branch is carefully crafted by hand, following the wood grain to create each piece, greatly improving the stability and uniformity of the zither, making the sound smooth and progressing layer by layer. The zither of Glowing Pillar is highly durable and does not easily wear out during repeated playing, enhancing the stability of the sound and preventing misalignment while playing. Such meticulous selection and intricate production process mean that the production cost of Glowing Pillar zither is several times higher than that of ordinary zithers, but in order to elevate the sound of the zither, we spare no expense.
Zheng tails are renowned for their unique design, selection of premium woods, Nishijin-ori finishes, and the exquisite craftsmanship in merging these with the body of the instrument. The distinctively dazzling round-arch design of the zheng tail enhances sound presentation to perfection. This is an incomparably splendid Guzheng piece.
Made of 18K yellow gold, durable and not easily faded.
Carving double-layer triangular engraving takes twice as much time than single-layer triangular engraving because of the ultimate precision it demands. Even a tiny mistake could lead to a complete redo of the instrument from scratch. As the interior of the zheng body is a curved surface instead of a flat one, the craftsman needs to take into consideration the contour of the body as well as the way sound is transmitted during playing. Double-layer engraving allows more surface area of the interior to come into contact with the atmosphere, thereby adding depth to the sound layers with aftertones that are more dramatic and compelling.
The sound hole on the backboard panel is also cloaked with red sandalwood to ensure that the sound comes across as solid and well rounded, rather than diffused and scattered.
