In the ideological theory of Guqin aesthetics, "Xishan Qinkuang" is more important, and it is a master of ancient Guqin aesthetics. It is one of the three major works of ancient music aesthetics. It is extremely important for today's piano learners. The aesthetic thought of "Qin Kuang" has been summed up by later generations as "Zhongzheng and peace, clear and subtle and far away" (three ancient Chinese music aesthetic thoughts, "Xishan Qinkuang", "Music" and "Sound without Sorrow"). The following is a brief description of the aesthetic thoughts of "Xishan Qinguang".

In the twenty-four situations, harmony is the first priority. "Xi Shan Qin Condition": "The most important thing is harmony. The beginning of harmony." This book proposes twenty-four situations in Guqin performance, involving the aesthetic taste and aesthetic style of Guqin. The twenty-four conditions are intrinsically linked, and the "harmony" condition is listed as the first among all conditions. The most important thing in all situations. "Harmony" is an aesthetic point of view in traditional Chinese music aesthetics. As early as the Spring and Autumn Period, there were assertions such as "harmony in reality, but no success with the same", "government and music, music with harmony, and harmony with peace". Forgetting peace, a gentleman cannot listen. Later, it was further developed into "neutralization" and "light harmony", which became the most important aesthetic concept of Confucianism and an important aesthetic criterion for music.

"Qin Kuang" inherits the aesthetic taste of Confucianism and proposes that "the sound on the strings is only precious and neutral"; Wait. "Qin Kuang" respects the quiet, clear, distant, ancient, Dan, Tian, Yi, and Ya Kuang in line with the style of Hezhi, and rejects the beautiful voice and folk music of "many masturbation sounds" that are contrary to Hezhi. "The sound of the ear is not particularly fast, but far from the elegant. The sound of the heart is not only delayed, but also reduced to the vulgar sound. If the vulgar sound does not enter the elegant, its sound Don't argue, and the sound has been around since ancient times." All these show that the aesthetic thought of Guqin performance in "Qin Kuang" is to inherit the traditional Confucian aesthetic purchase, taking lightness as beauty, quaintness as beauty, and harmony as beauty.

"Qin Kuang" takes harmony as the starting point, and further proposes that "strings and fingers are together. Fingers are in harmony with sound. Sound and meaning are in harmony. The relationship between finger, sound and meaning is discussed:

I again ask for the reason and the three. Said string and finger together. Finger and sound. Sound and meaning. And the peace comes. Husband has sex. Want to go along and avoid going backwards. Shallow truth and avoid falsehood. If the Chuo who note it. Above and below. Not smooth. Press not heavy. Not moving. is not true. So it means under the chord. Be careful not to loosen up. Fingers on the string. Especially without a trace. Contacts are up and down. Just like glue paint. Then the strings and fingers are in harmony. The sound is rhythmic. or in emblem. or not in the emblem. Inherent score to locate. If mixed and unclear. and where out. The article is moderate. Waiting in the sentence. There are words in it. Very little sound. Chaotic and disorderly. He He Sheng. Focus on this. Finely identify its yin and leaves. Nickname to suit it. Prioritize in order to save. The order turns into a rhyme. Curiously. It means harmony with the sound. The sound turns from the intention. It means sound. The sound is arbitrary. Return all the wonderful. So want to use it. It must be practiced first. Practice its sound. Then you can negotiate. Such as the right touch also. String desire is heavy but not cruel. Light but not stingy. Fast but not rushed. Slow but not slack. The left is also pressing the strings. Ruoyin Ruoyou. Round and unobstructed. To be more than enough to note. Fixed and extensible. Twists and turns. Sparse and dense. Inflection and ups and downs. Disconnect and reconnect. This is all based on the essence of sound and the depth of meaning. It has its own merits. Contrasted with the mountains. And majestic shadows appear. Contain with water. And dazed. Summer can also change. Xutang Ningxue. Cold can also return. The grass pavilion flows spring. It's endlessly hidden. Incredible. The sound and meaning are in harmony. Don't know how it is. Want it. God is quiet. Ai Ran intoxicated. Taihe Drums. Self-awareness. It is impossible to say one or two. Tai Yin Xi Sheng. The old way is hard to come back. Do not meet with temperament. And thought it was a skill. The longer it goes on, the more it loses its legacy.

All three are the sum.

The combination of strings and fingers refers to the mastery of the musical composition in the performance skills of the performer; the harmony of finger and meaning refers to the processing of musical structure and style, as well as the accurate grasp of the composer's interest, while mastering the skills of the musical composition. The harmony of sound and meaning is the highest realm that the performer wants to achieve. On the basis of the first two, add personal emotional experience and understanding of the inner meaning of the music, and get a kind of "empty hall condensing snow, grass pavilion flowing spring, and other music". Endless possessions, inconceivable, if there is not enough in the string of seeking, there is a surplus of experience beyond the string of obtaining.

Xu believes that the meaning is more important than the sound, and it is necessary to get the meaning to achieve forgetting the shape. Therefore, the performer must grasp the spirit of the music and achieve the unity of performance skills and aesthetics. It is proposed that "the sound changes from the meaning, the meaning first follows the sound, and the sound follows the meaning", so "if you want to use its meaning, you must first practice its sound, practice its sound, and then be able to match its meaning". This situation also proposes the "empathy" in traditional aesthetics: only by integrating personal feelings into the music can one achieve the level of ecstasy. "Sound follows meaning, meaning precedes sound, and sound follows meaning" is the best interpretation of "empathy".

"Far is similar to late. But the real is different from late. Late uses qi. Far is driven by spirit. Therefore, qi has weather. But god has no weather. It will be far away from the weather. Outside. Then God is the king. As for the spirit of wandering, it is mysterious and mysterious. It is quiet at times. If you travel in the snow of Emei, time is passing. If you are in the waves of Dongting, it is slow and fast. There is no such thing as a far-reaching subtlety. The cover is far away. The border is in Xiyi. It is not easy to know if you are not a bosom friend. But there is only a leisurely ambition in the middle. That's why I say. If you ask for something that is not enough, if you get it, there is more than enough. ."

This argument is clearly influenced by Taoism. This is an aesthetic taste that emphasizes both reality and reality. The sound inside the piano, the meaning outside the strings. The inner meaning of seeking is the real in aesthetics, and the meaning outside the string is the empty in aesthetics. In the performance, only by combining the virtual and the real, with the real performance as the basis, with the clear skills, and adding the virtual pursuit and the "impression" of the performance, can we achieve the perfect artistic realm of "complacent and forgetful".