The 'Harmonising with the Clouds' qin (possibly a later appelation), is, according to accepted connoisseurship, typical of a Southern Song qin.
Its style of construction, size and shape, including the curvatures and angularity of the parts, distinguish it from earlier Tang and later Ming examples. Earlier examples have more sloping and broad shoulders, whereas Song qins are higher and narrower, as well as flatter at the head of the upper board. However, like Tang examples, the bottom board meets the sides via a gentle curve, not a right angle. Lastly, the body tapers slightly towards the tail, not sharply as in less elegant Ming qins.
Also typical of Song qins, is its surprising lightness. This is due to a thinness of construction not found in other periods and probably resulting in a clarity of sound which was fashionable during the period.
Compare the black lacquer qin titled 'Tianfeng Haitao (Winds and Waves) dated to the Song Dynasty, excavated at Zhou xian in Shangtong province and illustrated in Cultural Relics Excavated during the Cultural Revolution (Wenhua Dagemin qijian chutu wenwu), vol. I, p. 132.