China
Chinese

Wood, metal strings, nacre shell (mother of pearl)
Qing Dynasty (1644–1911)
Length: 35 in; Width: 9.75 in; Depth: 5 in
Chordophones – Lutes

A beautiful Chinese lute known as a pipa, featuring a wooden, pear-shaped body beautifully adorned with floral and phytomorphic (representation of the divine) designs of inlaid nacre shell. This pipa has 4 strings – one for each of the 4 seasons – running across 12 frets that start at the nut and progress across the belly of the instrument ending at the bridge. A stylized bat – a symbol of good luck – embellishes the head, sitting atop the 4 pegs. The inlaid mother of pearl decorates not only the front of the body, but also the verso – intended as an aesthetic solely for the player rather than the listener.

The lute slowly migrated to China from Central Asia during the Han and Sui dynasties (1st to 7th century CE) and eventually transformed into the pipa. The term “pipa” describes the original playing motion of the plectrum held in the performer’s right hand: p’i, “to play forward” (toward the left), and p’a, “to play backward” (toward the right). Until the mid-tenth century, the pipa was held horizontally (guitar style), and its twisted silk strings were plucked with a large triangular plectrum. Toward the end of the Tang dynasty, musicians began using their fingernails to execute the exuberant and programmatic repertory that was gaining popularity and that became the national style. To facilitate the use of the fingers, the instrument began to be held in a more upright position. In addition to its use in the opera and in storytelling ensembles, the pipa has a solo repertory of highly programmatic, virtuosic music. Historically, it was at times used as a tool of self-refinement by members of the scholar-literati class and in the solo and ensemble music making of imperial households. But it has also been an instrument of the common people and used for the accompaniment of narrative songs and regional opera, and in amateur instrumental ensembles in many regions of China. Also associated with Buddhism, the pipa is often seen in the hands of angels in Buddhist iconography and incorporated into Buddhist narrative singing. During the 20th century its historic use as a solo instrument made it a natural choice for inclusion in the evolving conservatory-based concert hall tradition.

Resource: Metropolitan Museum: https://www.metmuseum.org/art/collection/search/500625