Chinese guqin music is an art with a profound historical and cultural background. It is of noble quality with multiple beauty. Give people unlimited pursuit. Therefore, Ji Kang called it "among the many instruments. The qin is the best, so I put it in the narration and thought it was a gift". In ancient China, Guqin was always called Lvqi, Sitong and Yaoqin. After Sui and Tang Dynasties, it was called Guqin because of its long history. The reason why the art of guqin can be unique and highly respected is that in addition to the "best qin morality", it also has the characteristics of music that can follow the natural "neutralization" of sound, and the pursuit of artistic conception and advocacy of inner harmony in traditional Chinese culture. The characteristic of implied beauty. so. In the eyes of the ancient literati, "the gentleman listens to it. He has peace of mind. He has peace of mind. Therefore, in traditional Chinese music culture, especially in the cultural life of the "earth" class, guqin music has always emphasized peace and harmony. The heart, good deeds, and beauty occupy an important position. Therefore, the ancients called it "a person who plays the drum and the qin, who is calm and upright, and the listener is easy to distinguish."

The "zhi" of "zhijingqizheng" has been explained by the ancients for a long time. Duan Yucai called "zhi" as "meaning" in "Shuowen Jiezi Notes". The "Poem Preface" interprets "zhi" as "the place of the heart". "Book of Rites, Shaoyi" says: "'Intention and will, with will,' meaning can be asked. Will is whether it can be done. (Note) meaning, business is also. Will, private meaning." This "private will" is actually It refers to the self-will of man. From an aesthetic point of view, the category of "will" is the cohesion of the individual and the whole human ideal and free will, and its eternal vitality dominates the ideal and free will of the individual. It forms a never-ending tacit relationship with the life movement of Chinese culture. This relationship makes "'zhi'" potentially guide the two-way movement of the mind, and endow aesthetic activities with ideality and transcendence. It is in the cultivation of individual personality. Being in a basic position, it fundamentally promotes artists to create, and restricts the formation of qi, bones, artistic conception, etc.". Sima Qian recorded a dialogue between Confucius and Shi Xiangzi when he was learning the qin in "Historical Records: The Family of Confucius", which involved the meaning of "zhi": "Confucius learned the drum and qin and master Xiangzi, but he did not enter for ten days. Shixiangzi Said: 'It can be beneficial.' Confucius said: 'Qiu has already learned his songs, but he has not yet obtained the number.' There was a time when he said: 'Having learned the number, it can be beneficial.' Confucius said: 'Qiu has not yet acquired it. As a human being. 'There is a time, some Mu Ran thinks deeply, some are happy and have high aspirations..." Although. Sima Qian did not mention what music Confucius played. But it can be seen from Confucius's words of "learning his songs", "getting his will", and "getting his people". He regards the guqin as an important way and means for personality cultivation and spiritual sublimation.

In ancient China, literati and artist were one and the same. Because, in the feudal society of China for more than 2,000 years, literati and doctors who built their personalities with elegance have always regarded qin, chess, calligraphy and painting as an important part of their life journey, and worked hard to practice their ideals. In this sense, "zhi" can be said to be the gathering of the "true self" hidden deep in the souls of ancient Chinese literati. The gathering of this "true self" is centered on "self", which can also be called another expression of "self". The so-called "self" is based on "self". As Wang Fuzhi said in "Reading the Four Books, Volume 1": "The so-called self is the heart, and the righteous heart of the one who wants to cultivate his body. The righteousness of the heart is the holding of the will." [3]. According to Wang's will. We can see that individuals have a general psychological pursuit of "self", and this pursuit often shows a certain "liberalization" in the manners and music styles of Chinese literati. And this kind of longing and yearning for "liberalization" was explained by Mr. Xiong Wei, a professor of Peking University, as "freedom", and its essence is "Ren Zhi". The so-called "Ren Zhi" actually means "holding the Tao and Ren Zhi", that is, according to Mr. Yu Yingshi, it is to ensure that the individual of the scholar is sufficient to undertake the key activities of spiritual cultivation, and the self-appointed person is the greatest. Since the objective reliance is so weak, they are in addition to spiritual cultivation. There is no reliable guarantee enough to affirm one's adherence to the "Tao". Therefore, starting from Confucius, "cultivating one's self and one's aspirations" has become a necessary condition for ancient literati. "Self-cultivation" originally originated from the ancient tradition of "li" and was an external modification, while "Renzhi" became an internal moral practice whose purpose and utility were linked to the reconstruction of political and social order. "From the perspective of the process of occurrence, this path of seeking oneself from within was forced out because the external resources of Chinese intellectuals were too weak." This is also one of the important reasons why ancient Chinese scholars and officials mostly expressed their "will" through the qin.

Guqin music is an art with profound historical and cultural traces. It not only has many qin masters and works handed down, but also has rich qin theory documents. From the "Book of Songs" and "Zuo Zhuan" in the pre-Qin period to the "Xishan Qinguang" and "Qin Xue Chuanyan" in the Ming and Qing Dynasties, they outline the traditional guqin music and its development context. Looking at these documents, it is not difficult to find that Guqin music and its musical ideas are closely related to Confucianism, Buddhism and Taoism. Since then, Confucianism, Buddhism and Taoism have all influenced the development of traditional Guqin music. For example, the concepts of "playing the qin is forbidden", "attacking the qin is like participating in Zen", "playing the qin is also in the heart", etc., respectively reflect the attitudes of Confucianism, Buddhism and Taoism towards the art of guqin and the aesthetic value orientation of guqin music. But no matter how different they are in the metaphysical aspect, the idea of Qin Yanzhi is basically the same, which fully reflects that the Guqin music art has a certain interpretation of people's "will" from its connotation and extension. role and meaning.

"Poetry expressing ambition" and "poetry predestined relationship" are two highly ideological aesthetic viewpoints in ancient Chinese poetics, and their vitality is still valued by the literary and art circles to this day. Therefore, scholars are more accustomed to referring to the two together as "emotions". Mr. Zhu Ziqing analyzed the difference between "qing" and "zhi" in his "Poetry and Will", and explained: "'qing' contains more perceptual factors and has strong individual characteristics, while "zhi" 'It is a category related to political ethics and has obvious social orientation." But when it comes to the thoughts and concepts of ancient Chinese qin studies, people have always closely linked the two. On the one hand, this connection is manifested in the artistic practice of the literati, which incorporates the aspirations and emotions and aspirations into all aspects of the qin learning thought. On the other hand, that is, in the process of this practice, literati often express a feeling by putting their feelings on the qin music, and this feeling reflects the literati's perception of human nature and society. Therefore, those who have the ambition to help the common people, borrow the drum music "Nanfeng Cao", "to relieve the sullenness of my people... to enrich the wealth of my people". Therefore, in "Historical Records: Tian Jingzhong's Family": "The tone of the qin controls the world. The man who rules the country and kills the people is no better than the five tones." And those who have the will to idle the clouds and wild cranes play "Olu Forgetting Machines". Such qin music expresses the feeling of "smooth in peace and smoothness, entrustment and appointment: tranquility and few desires. Lonely and inaction: abandoning wisdom and not scheming". It reflects that the ancient Chinese literati did not focus on playing the qin's educational role of "forbidding evil and returning to the right, in order to harmonize people's hearts", nor did they purely pursue sensory stimulation and pleasure, but focused on expressing their hearts and publicizing their individuality. Therefore, Bai Juyi said in "Qin Xing Xing Qing Night": "The moon rises and the birds perch, and sit in the empty forest in silence. At this time, the state of mind is leisurely, and one can play the plain qin. The coldness is by nature, and the tranquility follows the heart. The beginning of the sound. The sound of the rest of the group is moving, the song is over and the autumn night is deep. The sense of righteousness is metamorphosed, and the heaven and the earth are clear and deep." However, those who have experienced ups and downs but have an unyielding ambition, borrowed the meaning of "Three Lanes of Plum Blossoms" to express " Dispel my anger and wash away my discord". In addition, there are those who are not afraid of rape and yearn for meritorious deeds, but their ambitions are not rewarded. These people show from different perspectives the inner expression of ancient Chinese literati who used "qin" to express their feelings and use "qin" to express their aspirations.