"Xi Shan Qin Kuang" And The Study Of Guzheng Art Theory

Guqin and Guzheng are very important in traditional Chinese musical instruments.They are quite similar.Both of them have many similarities in terms of playing techniques,shape system,their respective cultural connotations and their aesthetic attributes.According to the history of development,Guqin was called "The halidom,the First of the Eight Sounds"in ancient times,and it can govern the temperament of the person and regulate the person's heart,mind,and spirit.the upper class were always good at it.However Zheng is purely among the folk instrumental music,and it is difficult to achieve elegance.Judging from the relevant literature,Qin has been extremely rich in historical records.But compared with Qin,Zheng is quite poor in historical records,but compared with Zheng,it lacks much.It can be seen that Zheng is a little bit thin inculture compared to the profound culture of Qin.During the development of the guqin,"Xi Shan Qin Ge" was a great performer in the ancient dynasty Qin theory.It can be seen that Zheng is a little bit thin inculture compared to the profound culture of Qin.During the development of the guqin,"Xi Shan Qin Ge" was a great performer in the ancient dynasty Qin theory.It not only proposes twenty-four states for Chin Art,such as harmony,calm,clarity,distance,ancientness,flatness,gracefulness,easement,elegance,beauty,brightness,mien,cleanliness,smoothness,roundness,determination,magnificence,fineness,silkiness,vigor,lightness,heaviness,tardiness,and fastness,but also combines performance aesthetics thinking in theory with these twenty-four states.The appearance of "Xi Shan Qin Xi" has not only inherited and developed the lyrical ideas of ancient times,but also based on aesthetics,which is also a reference for the development of contemporary instrumental performances.I'd like to use the twenty-four conditions proposed by playing skills in "Xi Shan Qin Ge" as a theoretical basis,combinng my own teaching and playing experience and apply them to traditional Zheng performances.I hope to use my research on the "Xi Shan Qin Shi" to promote the theoretical system of Guzheng performing arts.The main structure of the article is as follows:The first chapter;In general,it outlines the "Xi Shan Qin Kuang" under the influence of traditional music aesthetics,and focuses on the core ideas of "Xi Shan Qin Kuang" and"Harmony" theory from the traditional music aesthetics.The second chapter:From guqin to guzheng,it discusses the combination of "strings,fingers,sounds,and intentions" in "Xi Shan Qin Kuang" in detail.The third chapter:Based on the theory of " Xi Shan Qin Kuang " for the playing skill,this article expounds how the theory of" Xi Shan Qin Kuang " playing skill is applied to Gu Zheng artistic theory from the aspects of body function and mental function.The fourth chapter:Taking the " Xi Shan Qin Kuang”as the leading ideology,the summarizing exposition uses the "Qin Kuang " and turns it into a "Zheng Kuang",hoping to construct a "Zheng Kuang " art theory system.