Many forms are quite simple, elegant and classical, such as the Zhong Ni Shi and Fu Xi Shi, which have examples from the Tang Dynasty and before. Others such as Jiao Ye Shi (bamboo leaf) are very popular in recent years but are not as well represented in historical times. There are many lists of qin forms in the various players’ handbooks (Qin Pu) and some are (perhaps fancifully) even connected to individual players.
The shape of the instrument, its form, does not need to have a very important influence on the tone. There are so very many variables in qin construction that the form is but one of them. However, the more indentations or contours an instrument has the more these might cause the resonating chamber to be decreased in size.
MoWuQinFang has created its own very unique style also called 宝剑式 Bao Jian Shi (sword style). This is a very elegant form with a gentle tapering towards the dragon’s gums and with a unique pair of notches in the dragon’s pool on the underside, to hint at the shape of the hilt of a sword. The sword in China, we might consider, is an object not of battle only but of trust and protection and it is this sentiment that our sword style imparts to the player and their music.