The relentless exploration of the secrets of fine violins

In 1960s, there were not many people in Taiwan who understood violin-making techniques, and even if one wanted to learn, there were no good teachers available. After graduating from a normal school, Su Ding Hsuan began teaching at a school for the blind and deaf in Taipei while exploring violin-making techniques in his spare time.

Gradually, he got to know some violin teachers and learned that there were good materials for violin making available abroad, prompting him to start purchasing materials from Germany and Italy. Through continuous learning and research, Su Ding Hsuan gradually realized that to create a good violin, it must achieve “precise dimensions,” “aesthetics of form,” and “sound quality.” For someone like Su Ding Hsuan, who had a background in woodworking and had a keen sense in fine arts and crafts, the first two aspects were not difficult to attain.

However, achieving “sound quality” took him decades without breakthrough. Su Ding Hsuan stated that European violin-making techniques reached their peak in the 18th century, with historical master violins, such as the extraordinary Stradivari and Guarneri violins, mostly made during that period. Since then, due to the “loss of secret techniques,” experts and scholars have generally believed that European violin-making techniques have remained in a “dark age” and cannot be restored to their former glory.

He explained that to unlock the “secrets of master violins,” one must first understand the four essential elements of making a good violin: “material selection,” “thickness of plates,” “lacquer formula,” and “adjustment of components.” He analyzed that wood is a natural material, and as long as one has the eye, ear, and experience, obtaining good materials is not difficult. The thickness of the violin body can be adjusted while the instrument is unvarnished.

Although adjusting components such as the pegs, bridge, sound post, tailpiece, and fingerboard can be labor-intensive, with experience and patience through long-term observation and continuous correction, one can achieve the best combination, which is not technically difficult; the only part that has been lost is the “lacquer formula.”

He traveled to Germany and Italy to seek mentorship but found that he already knew everything those violin makers could teach him, and he could not find the “secret techniques” to break through the bottleneck of violin making.

Just when he was about to give up violin making in 1970s, a retired lacquer craftsman told him, “Among all lacquers, the one with the best elasticity and density is natural lacquer. Asia has this kind of natural lacquer.” Unexpectedly, this chance guidance led Su Ding Hsuan to discover the ancient lacquer formula that could solve the sound quality issues of violins.

Natural Lacquer Unveils the Mystery of Master Violins

When Su Ding Hsuan followed the old lacquer craftsman’s advice and wanted to try using natural lacquer on violins, a friend working at the National Palace Museum in Taiwan discovered that the museum’s archives contained historical shipping documents from the late Ming to early Qing dynasties that listed natural lacquer shipments from China to Europe, including the weights and prices of the lacquers.

This discovery greatly excited Su Ding Hsuan, as it likely indicated the source of natural lacquer used in ancient European master violins. Perhaps due to wars or trade disruptions, the supply ceased, leading to the loss of lacquer; or perhaps the invention of time-saving synthetic lacquers after the Industrial Revolution made it easier to produce in large quantities, causing the more labor-intensive natural lacquer to be gradually abandoned and lost.

It is also possible, as reported by Japanese scholars, that natural lacquer was originally produced in the Mediterranean region but later became extinct due to changes in the Earth’s atmosphere, leading to the use of synthetic lacquer and its skill subsequently loss.

In any case, this path has traces to follow. After Su Ding Hsuan initially began experimenting with natural lacquer, it was discovered that this lacquer indeed possesses the characteristics of ancient instruments. These characteristics precisely align with the descriptions found in literature related to instrument making prior to the European Industrial Revolution.

These observations matched the records in European Pre-industrial Revolution violin-making literature. Su Ding Hsuan further discovered that violins coated with natural lacquer had a more beautiful and soulful sound, remarkably similar to that of ancient master violins. Thus, he devoted all his efforts to pursuing this path.

Relentless Attempts Finally Yield the Ancient Lacquer Formula

Although using natural lacquer in violin making is the right direction, natural lacquer is technically extremely complex and difficult. Su Ding Hsuan, who is determined to create top-notch violins, searched far and wide for various suitable natural lacquer types for instrument making.

After approximately 50 years, he continuously experimented with hundreds of lacquer types from China, Taiwan, the Southeast Asian Peninsula, and Japan in a specially designated laboratory. He visited local lacquer masters in different regions, integrating and continuously exploring various traditional experiences and formulas. Eventually, he discovered the very few lacquer tree species that produce the best sound quality and formulated a unique recipe for violin making.

When comparing the effects of synthetic lacquer and natural lacquer on violin sound quality, Su Ding Hsuan stated that modern synthetic lacquer is made by dissolving resin in solvents such as alcohol and turpentine. Violins made with synthetic lacquer do not have perfect sound quality; the lacquer film is fragile, can peel off over time, and deteriorates in sound quality, appearing less appealing. In contrast, handmade violins coated with natural lacquer have noble and soulful sound quality, with full volume, crisp highs, sweet mids, and rich lows, avoiding certain imperfections found in some old master violins.

Using natural lacquer for varnishing presents tremendous technical challenges; pure lacquer cannot be used directly and requires complex formulas in addition to the natural lacquer base. Su Ding Hsuan finally clarified the complexities of this lacquer, recovering the ancient lacquer and formula that had been lost for over 200 years, bringing back the long-lost art of lacquer and restoring the brilliance of ancient violin lacquer.

He said, “Once the natural lacquer on a handmade violin dries, no solvent can dissolve it. A violin can last five hundred years, and a cello can last a thousand years, with rich overtones and strong elasticity. Not only is the gloss beautiful and not easily peeled off, but the sound quality is also extraordinarily beautiful and improves over time.”

A Scholar and Artist Committed to His Ideals

Su Ding Hsuan believes that violins are alive; each violin has its own unique sound. A violin is like a child; it has a spirit, can grow, and can deteriorate, requiring continuous care and adjustment. “A good violin will resonate with its player; whatever the player desires, the violin will provide,” Su Ding Hsuan said.

Sticking to one’s ideals often comes at a high cost. When asked if he has encountered any difficulties in the process of making violins, Su Ding Hsuan laughed and said that “it has been quite challenging all along,” but “one must find ways to solve failures because failure is also a form of data; at least it allows us to study why it failed this time.” This attitude has allowed Su Ding Hsuan to face almost no insurmountable problems throughout his life. It is this spirit of research, of creation and of perfection that has enabled Su Ding Hsuan.