As one of the traditional national musical instruments in my country, the erhu has a history of thousands of years. From ancient times to the present, due to the vast territory of our country and the large span between the north and the south, the difference in the topography and landforms between the north and the south, and the different living habits in different regions have created differences in cultural customs and other aspects, so the stylistic performance skills of the erhu in different regions have been formed. All have their own unique local style.

Therefore, in the erhu performance, how to correctly express the stylistic performance characteristics of different regions is also particularly important. This paper analyzes the reasons for the formation of erhu stylistic skills, the erhu stylistic skills and the artistic effect of erhu stylistic skills, so that we can better understand and understand the diversification of erhu culture in our country, and enhance our understanding of erhu performance. The regularity of understanding, so as to comprehensively improve their performance of different repertoire.

首先，我国幅员辽阔，南北跨度较大，我国北方地区多以平原为主，地形辽阔，气候常年比较干燥；南方地区多以山川丘陵为主，地形崎岖狭窄，气候常年比较潮湿湿润。受地理环境的影响我国南、北方形成了不同环境的地域特色。其次，地理环境在一定程度上决定了地域的人文风情。我国自古以来就是一个多民族国家，不同的地域和不同民族的人们的劳动习惯和生活习惯也各不相同。北方人大多“面朝黄土背朝天”，所以北方人大多形成了豪迈、爽朗的气质。南方大多为江南水乡，所以南方人大多形成了细腻、柔和的气质。

Minority cultures in northern my country have a long history. Take Mongolia as an example. Their long-term nomadic life has created their cheerful, lively and good singing and dancing characters. Music can be said to be ubiquitous in the life of the Mongolian people, and this musical style with unique ethnic cultural characteristics has just become an excellent material for the creation of erhu style skills. Among them, the erhu in Inner Mongolian music not only draws heavily on traditional Inner Mongolian national musical instruments such as Matouqin and Sihu, but also draws on the long and short keys that can best express Inner Mongolian music.

The third-degree vibrato of long and short keys; the overtone sliding and kneading of the matouqin; the decorative playing of the four hus, the bow of the stumbling, etc. are all used for reference in the performance of the erhu. After erhu absorbs and draws on various techniques, it has formed unique erhu-style techniques, among which "third beat" and "sixteenth note rhythm" are the most famous. The "New Herdsmen on the Grassland" composed by Liu Changfu, a famous erhu performer in my country, uses a large number of performance techniques such as the minor third vibrato, the grand glissando, and the throwing bow, which perfectly imitates the timbre of the traditional grassland musical instrument, the matouqin.

Through the erhu's stylistic and skillful performance, it interprets the unique prairie charm. It depicts a beautiful picture of strong horses running recklessly on the endless grassland under the blue sky and white clouds, and the herdsmen on horseback sing melodious songs, expressing the grassland herdsmen's love for life and their admiration for the beauty of the grassland. With its superior geographical environment and unique production and living conditions, the southern region became the most prosperous region in the country at that time. Driven by the economic and social environment, music, opera and other cultures unique to the Jiangnan region began to flourish. Relying on the economy and culture at that time, the folk erhu also developed prosperously, and continued to accumulate "energy" for it to become a solo instrument in the later period.