Guqin is the earliest stringed instrument of the Han people and a treasure in the Han culture.

1. The traditional aesthetics of playing the piano

From Liu Xiang's "Qin Shuo" and Cai Yong's "Qin Fu" in the Han Dynasty, and Ji Kang's "Qin Fu" in the Wei and Jin Dynasties "quick but not fast, stay without delay", to Zhao Yeli's "Wu Sheng Qing Wan" in the Tang Dynasty, Song Dynasty Cui Zundu's "Qin Jian" is "clear and quiet, harmonious and far away" to Leng Qian's "Sixteen Methods of Qin Sound" and Xu Qingshan's "Xishan Qin Condition" in the Ming Dynasty, all convey the consistent traditional aesthetic views of the Qin players of all dynasties, which can be summed up as " Harmony, tranquility, clearness, distant, ancient, dank, moist, and round". The way of the qin lies in the clear and wonderful rhythm, the harmony and tranquility of the qin style, and the subtle and mellowness of the fingers. When a person of the Taoist plays the qin, he adjusts his breath and practices his fingers. When he adjusts his breath, his mind becomes calm, and when he practices his fingers, his voice becomes clear. It is necessary to neutralize the temperament, in order to achieve harmony between strings and fingers, harmony between sounds and meanings, and finally achieve harmony. It is usually said that the characteristics of the Yushan School are "modern and peaceful, clear and subtle and far away", which refers to a realm pursued by traditional aesthetics, rather than specific fingering skills. It is unrealistic to fiddle with the fingers without any force. The traditional qin people advocated "unconscious desire for power, lack of frivolity, lack of impatience, slow desire, and no stagnation in desire." This kind of manoeuvre that combines mentality and technique is one of the quickest fingerings. The skill of hitting the strings with heavy hands can be said to be much rarer. The postscript of the song "Xiaoxiang" in "Chun Caotang Qin Pu" warns that "it is extremely difficult to use fingers in this song in the score, and the scholar Futu wins with his hands." We should cherish this teaching of the ancients.

2. The status of the piano school

Guqin traditional manoeuvres have distinct genre characteristics. From Zhao Yeli's comments on Wu Sheng and Shu Sheng in the Tang Dynasty, it vividly depicts the respective characteristics of the two major schools of qin learning in Wu and Shu. Later, it was further differentiated among the Confucian school and the Buddhist, Taoist and Shanlin school. Many qin schools emerged one after another in the Song, Yuan, Ming and Qing dynasties. The famous ones include Jiangxi School, Zhejiang School, Jiang School, Zhongzhou School, Yushan School, Jinling School, Guangling School, Zhucheng School, The Lingnan School, the Jiuyi School, the Fanchuan School, and the Mei'an School, etc., are geographically named qin schools arising from regional differences. Due to the differences in the natural geographical and ecological environment, the local cultural environment has been nurtured. Or secluded, ancient, vigorous and ups and downs; or elegant, smooth and free; The rich and colorful genres enable Guqin Caoman to continue to inherit and develop in both aesthetics and techniques.

Wudi's style of qin has a long history. It has been passed down from Cai Yong in the Han Dynasty. It has gone through the Songjiang School and the Yushan School, and has been preaching for thousands of years. In modern times, Wu Lansun, Wu Bianyang, and Wu Zhaoji (known as "Three Wu") continued the style of Wu Shengqin, forming a leisurely and peaceful piano, smooth and free handling, delicate finger movements, combined with hardness and softness, uniquely quiet and beautiful, with a long and meaningful rhyme. Door Qin Yun" style.

3. The Charm of Silk Strings

In the thousands of years of inheritance, the guqin has always been stretched with silk strings, which are called silk tongs. Thirty years ago, steel strings replaced silk strings, and silk strings almost disappeared on the mainland. However, after more than 20 years of thinking, people began to revisit the silk string qin. It is true that the silk-string guqin has a charm that steel strings can never match. First of all, the timbre of the silk-stringed qin is mellow and mild, and the intensity contrast is moderate, which is in line with the traditional cultural connotation expressed by the guqin; The left fingering method is specifically used on the silk strings, such as emptying, claw raising, calling, hitting, wandering, flying, flying, and so on. The traditional aesthetic value of the guqin can only be fully manifested when it is played on the silk-stringed qin. Hitch related. Many friends who love the silk string qin say that the playing effect of the silk string qin is the true face of traditional qin music, and it really brings out the taste. In addition, in the restoration of notation, the use of the silk string qin can easily enter the artistic conception of the qin music, which helps to figure out the scene of the ancients composing the music, which will affect the result of the notation.