The cultural connotation of the guqin lies in its very diverse artistic characteristics, which ancient Chinese literati have described at great length.
Guqin art in my country has a history of more than 3,000 years. It has always been in the most distinguished position in history. As a musical art, it has strong literary, historical and philosophical qualities. It is the oldest living mature music culture, and its influence is extremely broad and profound. Its long-standing and rich musical, academic, and musical instrument heritage is not only attracting the attention of an increasing number of professionals today, but also being appreciated and studied by an increasing number of enthusiasts. It was also declared by my country in 2003, assessed by UNESCO, and announced as "Masterpieces of Oral and Intangible Cultural Heritage of Humanity".
However, what cannot be ignored is that in the past two or three decades, this crystallization of the wisdom of the Chinese nation has been greatly misunderstood and even misled on a very large scale. For example, "The characteristic of guqin music lies in its tranquility and beauty"; the "highest state" of guqin music is "pure, subtle and distant"; "the simplest is the best" of guqin music; "guqin music is not an art, but a Tao"; " "The guqin is not a musical instrument, it is a Taoist instrument"; "The guqin is only played for oneself" to show nobility, and opposes treating the guqin as a human culture and art, opposing playing classic qin music in a clear and touching way, and opposing public performances. Such mythical or mysterious statements are widely circulated in society and on the Internet. They have made people feel that the art of guqin is unattainable, unfathomable, mysterious and unknowable. It makes people either intimidated or stay away from it, which is harmful to the inheritance and development of guqin art. Protection and dissemination, so they have to be distinguished.
We can fully explain the characteristics of guqin music from the existing documents of the past two thousand years, including the classic qin music that can be heard in the current qin world. "Jue" shows:
When a person with lofty ideals plays it, the pronunciation and rhyme will be unique. The music of the harp can be used to observe the wind and teach, capture the heart and soul, distinguish joy and anger, entertain emotions and thoughts, calm the mind and ponder, strengthen courage and bravery, break away from the secular world, and understand ghosts and gods. This harp is a good person.
This is a summary of the social existence of Guqin art at that time in the Tang Dynasty. It can not only reflect the historical development inherited before it, but also conform to the reality of Guqin music since then.
Around the 1950s, there was a view that compared the art of guqin to a noble and elegant orchid. But "Three Plum Blossom Lanes", "Flowing Water", "Xiaoxiang Water Clouds", "Guangling San", "Eighteen Beats of Hujia", "Remembering an Old Friend", "Drunken Madness" are full of artistic brilliance, lofty thoughts, firm will and sincere feelings. ", "Li Sao" and many other classics are by no means similar to orchids. After long-term thinking, the author formed an article "The Realm of Guqin Music" at the end of 2000, which may be close to the reality of guqin music:
The qin is music and expresses emotion and rationality. Touching people's hearts and touching gods. Or like pine, bamboo, plum orchid, clouds, wind and rain. Or like the clear pond and angry sea, or the Wu Peak of Mount Tai. Or like Chu Ci in the Book of Songs, Song Ci and Tang poetry. Or like a long rainbow and a bright sun, a bright moon and sparse stars. Its rhyme can be deep and exciting, or joyful and tranquil. Its energy can be elegant and vigorous, lofty and heavy. It contains everything of heaven and earth, and is endowed with the thoughts of the present and the past. Dependent on each other, opposites complement each other. This is the situation.
The use of orchids as a metaphor and the theory of Jingmei are obviously inconsistent with the actual situation of Guqin music. The earliest existing document describing the guqin can be found in "Shang Shu·Yi Ji": "Kui said: 'Hit the ball loudly, beat the qin and harp to chant, the ancestors tested the pattern'."
The text is extremely short, but it can From this we know that as early as three thousand years ago in the Xia and Shang Dynasties, or even earlier, the Qin was used as a ceremonial instrument for worshiping ancestors. Since it is used in conjunction with other musical instruments to perform a solemn and sacred ancestor worship ceremony, the music played should be sublime and steady or clear and smooth. It is an expression of memory, blessing, praise and prayer for the ancestors, and there is no possibility of "quiet beauty".
When Yan Ying discussed his concepts of "harmony" and "tong" 2,600 years ago, he used music as an example to illustrate the performance of pairs of sounds with opposite properties to prove that "harmony and harmony" "Different" and "mutual aid" must be harmonious and harmonious to be meaningful. ***List ten groups: "clear and turbid, small and large, short and long, slow and slow, sad and happy, hard and soft, slow and fast, high and low, in and out, Zhoushu." Among them, "clear and turbid, small and large, short and long, high and low" The six groups that are dependent on each other but different from each other, such as "in and out, Zhou Shu", show the changing shape of music. The other four groups of speed, joy, rigidity, and speed represent the inner feelings of activeness, joy, determination, and enthusiasm evident in music. Although Yan Zi did not specify here that he was talking about the performance of the qin, the qin was the most valued and expressive among the "eight tones" at that time. It was impossible for other musical instruments to have so many changes and contrasting performances at that time. It can be seen that the Qin music at this time actually had the expressions of "quickness", "music", "hardness" and "speed".
At the end of Yan Ying's discussion, he said: "If the harp and harp are so specific, who can listen to them?" and further emphasizes that the harp and harp, the two most harmonious musical instruments that are often played together, must also be harmonious. different. If they are indistinguishable from each other and are exactly the same, it will be like using water to match water, that is, "using water to help water." It will not become delicious and no one will want to taste it. In this state, the harp** *No one wants to listen to it. Then it can be determined that the above ten opposite, complementary, harmonious but different examples are the actual expressions of qin music.
"Zuo Zhuan" Yi He once said in the first year of Lu Zhaogong (541 BC): "A gentleman approaches the harp and harp because of his etiquette and integrity, not his heart.
"It is advocated that gentlemen listen to the harp and harp for the sake of standardizing etiquette, rather than for inner pleasure. This also shows that the harp at that time had a vivid, vivid and beautiful musical nature and musical performance, so it is necessary to remind the gentleman not to forget that listening to the harp and playing the harp are In order to meet the needs of one's own identity and status, one should not appreciate the piano as an art and seek psychological enjoyment. This is the moral requirement of a gentleman, which actually reminds him to be wary of the artistic appeal of the piano music.
Lu Buwei, who lived in the third century BC, recorded in his "Lu Shi Chun Qiu": Boya played the drum and harp, and Zhong Ziqi listened to it. "It's as good as the drum and harp, and as towering as Mount Tai. " When he was choosing less, but his ambition was flowing water, Zhong Ziqi said again: "It's as good as the drum and harp, and the soup is as good as flowing water. ”
Although we cannot regard it as a historical fact about the performance and appreciation between Boya and Zhong Ziqi in the Spring and Autumn Period, it is certain that people played the piano in the third century BC. From the understanding and appreciation of the music, we can get the spiritual feeling of "weiweihu", "tangtanghu", or majestic or heroic. That is to say, the image and artistic conception of "majestic" and "heroic" have been included in the music of Qin, which has been passed down through the ages. It has been praised by people since then.
Han Fei, a contemporary of Lu Buwei, recorded a very mythical story about the famous qin player Shi Kuang in the Spring and Autumn Period in his "Han Feizi·Shi Guo". The story of the Duke who played the harp and shocked the world:
Duke Ping stood up with his wine cup in his hands to serve as his teacher Kuang Shou. He sat down instead and asked, "Isn't the sound so sad as in "Qing Yu"?" Shi Kuang said: "It's not as good as "Qing Jiao"." "Ping Gong said: "Can "Qingjiao" be obtained and heard? Shi Kuang said: "No." In the past, the Yellow Emperor joined the ghosts and gods on Mount Tai. He drove an elephant and chariot with six dragons riding side by side. Chiyou was in front, Feng Bo came to sweep, the rain master sprinkled the water, tigers and wolves were in front, ghosts and gods behind, snakes leaped and fell on the ground, and phoenixes covered the ground. Above, the great combination of ghosts and gods, as "Qing Jiao". Today, my gentleman is not sufficiently virtuous to listen to you. If you listen, you may be defeated. "Ping Gong said: "I am old, and I would like to listen to the music that I like. "Shi Kuang had no choice but to play the drum. As soon as he played it, black clouds rose from the northwest. When he played it again, a strong wind came, followed by heavy rain. The curtains were torn, the rugs were broken, and the corridor tiles were broken. The people who were sitting dispersed, and Ping Gong was afraid. Lying in the corridor. There was a severe drought in the Jin Dynasty, and Ping Gong became ill.
Although this is probably just a legend, we can be sure that Han Fei's writing is his. The reflection of thoughts and understandings was caused by the social existence at that time and was formed by the influence of qin music on people in the second and third centuries BC when Han Fei lived. From this description, we can clearly see the extreme influence at that time. It is a sad song, and its astonishing appeal can have a great impact and excitement on people's spirit and psychology.
Han Ying, who lived from about 156 BC to 141 BC, was famous in his life. There is a description of Confucius learning the qin from his teacher Xiangzi in "Han Shi Wai Zhuan":
Confucius learned the drum and qin from his teacher Xiangzi but did not progress. The teacher Xiangzi said: "Master, you can advance." Confucius said: "Qiu has found its music, but not its number." There was a room, and he said: "Master, you can come in." Said: "Qiu has obtained the number, but not the meaning." "After a while, he said again: "Master, you can come in." Said: "Qiu has got his idea, but he hasn't got his person yet." "After a while, he said again: "Master, you can come in." Said: "Qiu has found his people, but he has not found his kind." One day, he said: "Looking out into the distance, looking like a sea, like a wing, I must be enjoying this." Gloomy but dark, almost yet long, the one who rules the world and dynasties the princes, is he only King Wen? ”
We can not explore whether a piece of music can express the temperament and image of King Wen in such a specific way in the study reflected in this record, but what we can believe is that the author of "Han Shi Wai Zhuan" In this era, that is, from the first to the second century BC, qin music can express, and has already expressed, such broad and high-spirited spirits and emotional music as "yanghu" and "wingy". That is to say, the artistic state of qin music at this time is dynamic and effective.
Huan Tan's "New Theory of Qin Dao" in the first century BC records that during the Warring States Period, Yongmen Zhou moved Lord Mengchang with Qin music. First, imagine the tragedy of the decline of the country and the ruins of the tomb after the death of Lord Mengchang. This situation made Mr. Mengchangjun sad. Then he moved his heart with the music of the harp, so that "Mr. Mengchang came to him and said: 'Sir, playing the qin makes Wen Li like a man who has perished.' ’ is a piece of music that finally drives Meng Changjun, who has been warned by the tragedy of his life, to burst into tears. It is a sad work with clear expression and strong appeal. Another record in the "Qin Dao" chapter is that "Shennong's Qin has seven strings, which are enough to understand all things and examine chaos." It also clearly means that the Qin can reflect the feelings of nature and the experience of life and society.
Cai Yong (132-192 AD) was a master of the Qin world in the late Eastern Han Dynasty and a famous figure in history. He included forty-seven Qin music in his book "Qin Cao" Among them, there is the poem "Cutting Sandalwood", which "looks up to the sky and sighs" because of the suffering of people's livelihood and the injustice of the world. There is "Pheasants Flying in the Morning" written by Twelve Cao, which describes the sorrow of a lonely shepherd in his old age; there is also "Pili Yin" which "sings with the aid of the piano, and the sound is exciting, like the sound of thunder". Hejian Zage's "King Wen's Order" praises King Wen's noble merits; "Nie Zheng's Song of Assassinating the King of Han" praises Nie Zheng's heroic perseverance, etc. They were all qin music that lived in social and cultural life at that time, expressing strong and The strong spirit of social justice and high spirits are examples of Qin music at that time.
No one can deny that Ji Kang (AD 223-263) is a famous qin player in history. His reputation is even more famous because of the "Guangling San" he wrote before his execution, which has been passed down through the ages.
Ji Kang's praise of the qin in his "Qin Fu" clearly declares that it is the best of the "eight-tone instruments", that is, the most superior musical instrument, and describes it emotionally in many aspects: "Huarong" "It's brilliant and bright, how great it is." "The sound is loud and clear, how great it is." "You are vigorous and vigorous, the wind is terrifying and the clouds are in chaos", "The heroic voice is getting louder and brighter", "The foreign language is learned, the voice is powerful and powerful", "The calamity of time (the strange thing with the handle added) is generous, or resentful (female) The word "tiger" (with the word "New Year's Day" under the prefix) hesitates. The ring is beautiful and majestic, and it is hard to recognize. And it scares God. "Sincerity can move one's heart and vent one's feelings." The passages excerpted here show the state of being intoxicated and excited by the passionate music. This is a heartfelt praise and exclamation from a real historical figure. What is beyond doubt is the true record of his being moved by the music.
The Tang Dynasty was the most glorious era of culture and art in Chinese history, and the art of Guqin was equally brilliant. In the existing more than a thousand guqin-related poems and many other documents, we can clearly see many aspects of the guqin culture at that time. Xue Yijian's "Qin Jue" quoted at the beginning of this article proposed that Qin music comprehensively and deeply expresses people's thoughts, feelings, and life experiences in the magnificent natural environment and rich social life. Moreover, Qin music and the elegance, beauty, vividness, enthusiasm and majestic temperament it brings to people's hearts are its mainstream. I would like to cite a few examples as evidence: the great poet Han Yu's "Listening to Yingshi Playing the Qin" is the most typical: the words of affection between children and daughters, and the kindness and resentment between you. Suddenly the situation became tense and the warriors went to the enemy's field. Floating clouds and catkins have no roots, and the sky and the earth are vast and far away. A flock of birds chirped noisily, and a solitary phoenix was seen. If you climb too high, you can't get any higher, if you lose ground, your strength will plummet. I have two ears to sigh, but I don't know how to listen to the silk bamboo. After hearing Master Ying's playing, he got up and sat beside him. Pushing his hands to stop suddenly, his clothes were wet with tears. You are sincere and capable, but you can't put ice and charcoal in my intestines.
In the poem, there is the grace of "the affectionate words of children", the vividness of "the grudges and grudges between you", the majesty of "suddenly becoming grand, and the warriors go to the enemy's field"; There is the strong change of "losing ground and plummeting from strength"; there is the ingenious contrast of "noisy flocks of birds, and seeing a solitary phoenix"; there is the agility and elegance of "the floating clouds and catkins have no roots, and the sky and the earth are vast and far away". The poet was shocked by the music and had strong emotional ups and downs. The music brought a strong ideological impact to him, creating an unbearable artistic infection like ice and charcoal coexisting in his chest. It is exactly the same as today when we perform and appreciate Guangling The best condition coincides with the "dispersion".
The poem "Three Gorges Flowing Spring" written by the female Taoist priest Li Jilan describes her actual feelings of listening to Uncle Xiao playing the piano, just like when she lived under Wushan Mountain and on the bank of the river, hearing the waves every day: "Jade Qin "The pop-up song is like listening to it in a dream." The song has the potential of "boulders collapsing from cliffs and falling from the ground, flying waves rising from the strings", and the strong changes and contrasts of "the first doubtful feelings surge with wind and thunder, but also seem to be blocked by sobs". The reality of such music is a strong testament to its artistic essence.
Another example is the far-reaching and heroic spirit shown in Li Bai's poem "Listening to a Shu Monk Playing the Qin", "Waving your hand for me is like listening to thousands of pines". In Wei Zhuang's "Listening to Zhao Xiucai Playing the Piano", "The night rain in Wushan is rising in the strings, and the clear waves of the Xiang River are flowing below." There is a faint romantic and deep infatuation of the Wushan goddess dreaming, and the Empress E's daughter's tears; "The bee clusters of wild flowers chant delicate rhymes , the bright, elegant and beautiful interest of "cicadas moving high and willows bursting out". In his poem "To Emei Mountain Playing the Qin Li Chushi", the poem "A heavy rain comes casually, and then a white snow rises from the sky" is majestic, and the wonderful performance displayed is even more amazing. This kind of piano music is naturally full of passion of.
Cheng Yuxi's "Qin Lun" is an extremely precious document on Qin studies in the Song Dynasty. It says: "The tone is light and flavorful, like eating olives. If you manipulate it, it will hit the target like the wind and rain, making people's spirits fly." It is very clear and powerful that "operate" and "operate" Large-scale piano music such as "Nong" has the shocking power to stir up people's soul. This is also consistent with the realm of "differentiating happiness and anger" and "building courage and courage" in "Qin Jue" written by Xue Yijian of Tang Dynasty. It shows that Qinyue in the Song Dynasty was still in line with the long tradition of Qin art and was a mature art full of vitality, aura and passion.
Yelu Chucai, a descendant of the Khitan nobles in the Yuan Dynasty, was appointed Zhongshu Ling, equivalent to the position of prime minister, in 1229 AD. He has a profound knowledge of Chinese culture. He is good at poetry and writing, and especially loves the piano. He "dedicated himself to the piano" when he was young, and later underwent a great change in his years of pursuit: "He was first taught by Mi Dayong, and his elegance and plainness became his own." But he loves Qiyan's piano style, which is "as sharp and urgent as the sound of the wind, pleasing to the ears and eyes." Although he was pregnant, he finally found the old man Qiyan in Bianliang twenty years later. Unfortunately, Qiyan died on the way to meet him. Fortunately, the Qiyan old man's son named Lan's piano skills impressed Qiyan's "legacy", and he was able to play more than fifty "cao" and "nong" major songs in sixty days using the method of two people playing against each other. "Qiyan Miaozhi" "can get it all". Yelu Chucai wrote in his "Playing the Qin on a Winter Night and I Gained a Lot of Gains from Thirty Rhymes of Luan Dao Clumsy Sayings in 1234 A.D. I still remember Zilan": "In the past, my master killed the king, and his voice was calm and unhurried. As if playing the piano clearly. The majesty of the temple music comes from Mu Mu. The rhythm changes quickly but is complex, and the chanting can be simplified and simplified. It can be seen that Yelu Chucai is happy to accept it. It is a fast and passionate piano piece with clear ups and downs of contrasting changes in strength and weakness. And “as soon as I heard the meaning of Qiyan, I was completely convinced.
"He did not regard the plain piano as the highest state, but harmonized it with the steepness of the rock: "They become one family with each other, spring orchids and autumn chrysanthemums. "And "I am now one, and the vast sea covers all the valleys. A slight illness is not urgent, and a slow voice is not slow." It can be believed that this nobleman of the Yuan Dynasty was a scholar with great musical accomplishment and artistic temperament. In another long poem of his dedicated to playing "Guangling San", he is once again straightforward and straightforward. He wrote powerfully about his great emotion at the passionate musical performance: “It’s so powerful to rush to the crown, and the sound of throwing a sword is like throwing. "I am about to write an article angrily, but the cold wind is howling." "Several twists and turns turn into a majestic one, and the rush to Yumen is urgent." "The clouds and smoke are changing rapidly, and the wind and thunder are breathing freely." Several prick sounds were made, and thunderbolts were heard at the fingertips. One drum and ten thousand breaths move, and then ghosts and gods weep. "The images and feelings depicted are obviously completely consistent with Xue Yijian's "Qin Jue" and the poems of Han Yu and Li Xiulan. They are also consistent with the musical performance of "Guangling San" that I played today.
Yushan Qin School The emergence of Qin music in the Ming Dynasty is a great monument, and the increasingly broad historical achievements of its founder Yan Tianchi are also awe-inspiring. Some people summarize the Yushan Qin School as "pure, subtle and distant". , does not conform to the objective actual existence. When we understand and describe the artistic style and musical thoughts of the Yushan School of Music, we must base it on Mr. Yan Tianchi’s own writings, that is, his "Songxianguan Music Score" attached to it. "The Preface to Qinchuan Huipu" puts forward in affirmative language: "The beauty of Qin comes from the soul and is connected with political skills. "Moving animals, divided into hard and soft, and differentiate between ups and downs." We have to admit that this is obviously consistent with what Xue Yijian said in "Qin Jue" that "can observe the wind to teach", "can capture the heart and soul", "can please the emotions and thoughts", "can understand the pattern" It is consistent with the artistic expression of "ghosts and gods".
Yan pointed out that the performance of qin music during the "Great Revitalization of Qin Dao" is "extremely mysterious, sluggish expressions, up and down response, low and high voices staggering each other, and singing over and over again." "Harmonious, casual and graceful" further clarifies that its music is profound, exquisite, smooth and clear in terms of artistic expression, and rich and flexible in terms of playing skills, and strives to achieve harmony and ease with the player, so as to enter a wonderful state. This This is a clear and affirmative declaration of Mr. Yan Tianchi’s concept of piano music. How can we ignore it?
Xu Qingshan, an artistic peak who emerged in the piano world in the late Ming and early Qing Dynasties, detailed it in his "Twenty-Four Qin Conditions"? The aesthetic orientation and approach of Qin music are proposed from various aspects. Among them, the twelve items belonging to the leisurely and gentle range are: harmony, tranquility, clearness, distance, lightness, tranquility, elegance, cleanness, moistness, fineness, lightness and slowness. Eight items: Yi, Liang, Cai, Jian, Hong, Jian, Zhong, and Speed ??belong to the range of passion, richness, vigorousness, and intensity, while the remaining ancient, beautiful, round, and slippery can be used in the artistic conception of these two ranges. Both. It can be seen that in the actual performance and aesthetic concept of qin music reflected in Xu Qingshan's "Twenty-Four Qin Conditions", passion, richness, vigor, and intensity account for one-third, and seem to be secondary to a few conditions. status, but the four items of Tian, ??Ya, Jie, and Liu, which belong to the leisurely and gentle range, also have the ability to "emanate from the spirit" and can "explain the mystery, express stagnation, respond to up and down, mix low and high, sing in harmony, and follow the mood. The merits of "Yan" and the heart-stirring power of the true nature of art cannot be affected by simple quantity.
Yang Shibai, the teacher of the late great pianist Mr. Guan Pinghu, was a great translator in the late Qing Dynasty and the early Republic of China. A great luthier in the 19th and 20th centuries. The "Qin Xue Series" he compiled has great academic significance, artistic value, and historical influence. He taught Mr. Guan Pinghu, who became one of the giants in the qin world, and made an immortal contribution to Chinese civilization. Contribution. In his masterpiece, Yang Shibai once used the four words "qing, subtle, light, and far" to express Yan Tiandi's purpose of qin studies, but he then emphasized that "Xu Qingshan followed, and qin studies began to flourish." Quoting Xu's twenty-four situations, he also points out those who deny that qin music "touches animals", denies that qin music "comes from the spirit" and "beautifies with interest", and worries that "the sound is becoming more and more numerous, and the law is becoming more and more popular." "Yan, ancient music is almost dead", deny the development of qin music in the inheritance and dissemination, and deny the performance methods and theories that have been enriched and perfected by the development of art. They believe that the ancient music they want is on the verge of extinction. Yang Gong Making fun of such people, saying that "Xia Shicheng Kao Yu" laymen "have not surpassed" them, and further said that such people are just "idiots in writing"
In order to express the music of Qin. "It can strengthen the courage", "can distinguish between joy and anger", and it can express the justice, strength, majesty and excitement of people with lofty ideals. It must have sufficient volume and a range of changes in intensity, so those with good sound quality and loudness are the ones Excellent Qin. Yang Gong told us that "if you have nine virtues, you can be loud", and quoted from the "Qin Jian" written by Tao Zongyi of the Yuan Dynasty, which said that in ancient times, "all those kept in the inner court and wealthy houses had no loud or broken patterns." Not eligible for selection. "Yang Gong further pointed out examples: "The qins from the Fengtian Palace in Wuying Palace and the Qianlong imperial inscriptions made by Xuanhe are all loud. ”
At this point, it can be believed that the artistic existence and artistic concepts of guqin music shown in a series of documents are of the same origin, and are an all-round reflection of people’s sincerity, kindness, beautiful thoughts, feelings, Life. It is obvious that the performance of guqin music can achieve this goal.
At the same time, from the perspective of guqin music itself, whether it is handed down from ancient times or in the past fifty years, it has been tested by society and culture over time. The discovery of ancient musical notation, that is, the results of musical notation, affirmed by academic circles, also strongly prove that the characteristics of Guqin music are by no means "quiet and beautiful". This concept that only appeared in the late Qing Dynasty can be one and the same. It is an appreciation orientation and type of thought, but it is not the highest state, nor is it a fundamental objective reality.
Classic piano music that has been widely spread for thousands of years and has a high cultural status and far-reaching influence, such as "Three Plum Blossom Lanes", "Flowing Water", "Guangling San", "Eighteen Beats of Hujia", "Xiaoxiang Water Clouds", "Fishermen's Song" ", "Drunken Madness", etc., all present vivid, vivid and powerful artistic beauty, either enthusiasm, passion, affection, or pride, and their appeal is "moving people's hearts and touching gods". All of them eloquently prove that Guqin is a living classical music with full artistic quality, literature, history and philosophy. Denying that guqin music is an art and that guqin is a musical instrument is neither in line with the objective historical existence nor in line with the reality that guqin art has an increasing influence on people's hearts today. At the same time, if you insist on playing these classic piano music "clear, subtle, light, and distant", it will definitely make people confused. And if the most noble goal is to play the guqin only for oneself, without being allowed to teach or perform it, then it won’t be long before the guqin will become extinct. Although this is impossible, it must be opposed. This kind of behavior guided by subjective and concocted theories cannot but hinder the healthy protection, inheritance and dissemination of Guqin art, so it must be clearly distinguished.