Wu Wenguang, male, Han nationality, born in 1946, from Changshu, Jiangsu. The first batch of representative inheritors of Guqin art of the national intangible cultural heritage project. He is currently the tutor of the China Conservatory of Music, the curator of the Chinese Music Museum, and the representative inheritor of the national intangible cultural heritage of Guqin art. He has made outstanding contributions to the historical research of music.

Wu Wenguang, a child of the family, learned the qin from his father, the famous guqin master Wu Jinglue. He successively studied at the High School Affiliated to the Central Conservatory of Music and the Guqin Department of the Folk Music Department of the China Conservatory of Music. In 1978, he entered the Graduate Department of the China National Academy of Arts, studying Chinese music history and Guqin art, and received a Master of Arts in 1981. He went to the United States in 1985 and received a Ph.D. in Ethnomusicology from Wesleyan University in the United States.

In terms of guqin teaching, Wu's guqin performers follow the Yushan Wu School, which was created by Wu Jinglue, which is known for its charm. With the pursuit of expressing natural interest and being good at psychological description, in the profound traditional cultural heritage and professional music basic training and long-term life During the training, the literati chanting style of the new era has been formed, and the performance technology and aesthetic theory of the guqin have been advanced a step. His early recording "Xiaoxiang Shuiyun" won the China Record Society (now China Record Company) Gold Disc Award (1949-1989). The CD albums produced include: "Flowing Water", "Yangchun", "Guqin Master Wu Wenguang", "Qin Tong Yuying", "Liezi Yufeng", etc., including more than 40 songs; and published by his father and son two generations Ren's score work "Yushan Wu's Qin Score" is used as a teaching material for guqin.

Aiming at the current multi-cultural context of music, in the strong trend of Sinicization of Western discourse forms, Wu advocates the modernization of traditional discourse forms, and guides traditional Chinese cultural genes to the modern and contemporary times, thereby restoring the discourse power of national music.