Author: Guo Kejian (Dean and doctoral supervisor of Shi Guangnan Music and Culture Research Institute at Zhejiang Normal University; Bai Yinqin, a master's student in Ethnic Music at Zhejiang Normal University) The art of Guqin has a long history and profound cultural connotations. In the Book of Rites, there is a saying that "scholars do not withdraw their qin and se for no reason." During the Wei and Jin dynasties, Ji Kang wrote in his "Qin Fu": "Among all the instruments, the virtue of the qin is the best." In the Ming Dynasty, Tu Long said, "The qin is an elegant music in the study room, and one cannot talk about the ancient without a clear sound scholar." The ancient qin is one of the cultural symbols of traditional Chinese literati. Since the earliest birth of "Youlan" according to legend, guqin music has carried the emotions of literati and expressed their interests in the 3000 year history of music development. The famous ancient qin pieces "High Mountain", "Flowing Water", and "Plum Blossom Sannong" are closely related to the names of famous scholars during the pre Qin period and the Wei and Jin dynasties; The ancient texts such as "Shishuo Xinyu" record Ji Kang's character as a qin player. The song "Guangling San" expresses his complex state of mind, while the piece "Qin Fu" carries the aesthetic pursuit and rational philosophy of the ancient people's "unity of heaven and man" and "moderate righteousness and peace"; Ruan Ji's song "Drunk Madness" expresses his sorrow and indignation of "lamenting the inadequacy of the Tao" and "dragging down the mood due to excessive drinking". The piano theory explained in "The Theory of Music" has led Chinese piano theory onto the path of aesthetics and art. A German scholar once said, "No musical instrument can compare with the guqin in its ability to embody the great traditional cultural atmosphere of China!" As an ancient instrument in Chinese traditional music, the guqin has always demonstrated a distinct and unique humanistic spirit with its exquisite performance skills and long historical tradition, showcasing the profound and outstanding Eastern performance aesthetic character. The life interest contained in the guqin originated in the Wei and Jin dynasties and reached its peak in the Song dynasty. As the Song Dynasty qin master Cheng Yugui once said in his "Qin Lun": "In the capital, two Zhejiang provinces, and Jiangxi province, there are many people who can play the qin, but their fingering methods are different. The capital is too strong, and Jiangxi is too frivolous, but the two Zhejiang provinces are neither wild nor historical in quality." The term "two Zhejiang" here refers to the ancient qin art of the Zhejiang school. The Zhejiang style guqin originated from the epoch-making creation of Guo Mian, a qin master from the Southern Song Dynasty and a native of Yongjia, Wenzhou, Zhejiang. He is known as the "ancestor of the Zhejiang style guqin". Guo Mian was a cloth clad figure who devoted his entire life to organizing and imparting ancient music scores. It is said that most of the popular qin pieces before the mid Ming Dynasty were compiled and taught by him. Guo Mian is particularly skilled in creating new pieces, and his qin music has profound ideas, meticulous logic, and rigorous structure, especially represented by "Xiaoxiang Shuiyun" and "Qiuhong". His qin music integrates ideological, artistic, and ethnic elements, embodying the unique musical charm and patriotism of literati in the late Song Dynasty. Guo Mian attaches great importance to imparting piano music and skills. His hereditary disciples Liu Zhifang, Mao Minzhong, and others inherited the tradition of Guo's qin studies, deeply studied the essence of the Zhejiang school's qin art, widely spread Guo's qin music, and established the unparalleled important position of the Zhejiang school's ancient qin in the southern Song dynasty's qin world. Afterwards, Xu Tianmin, a native of Yanling (now Tonglu County), Zhejiang, studied under Liu Zhifang, a pianist from the Zhejiang school, and Xu Tianmin, who followed the music style of the Guo family's sheet music. He is skilled in playing the qin and has been passed down from generation to generation. During the Hongwu period of the Ming Dynasty, he was highly regarded by his great grandchildren Xu and Zhongcheng, who had a significant influence and won numerous supporters. In later generations, he respectfully referred to the Xu family as the "Zhejiang Cao Xu Men" and "Xu Men Zheng Zhuan". The Zhejiang style guqin performance is mainly characterized by the tone of "subtle, subtle, round, and smooth", pursuing "clear, subtle,"