Xishan Qin Kuang Sixteen Methods of Qin Sound is composed of two of the most famous works of Guqin aesthetics in the Ming and Qing Dynasties-Xishan Qin Kuang and Sixteen Methods of Qin Sound. Xishan Qin Kuang divides the aesthetic characteristics of the guqin into twenty-four conditions, named: harmony, quiet, clear, distant, ancient, Tan, tranquil, easy, elegant, beautiful, bright, colorful, clean, smooth, round, strong, macro, fine, smooth, healthy, light, heavy, late, speed. However, it did not stop at explaining the aesthetic theory of guqin music. At the same time, it also put forward the requirements for the technique of guqin playing. It can be described as "equal emphasis on theory and skills." Sixteen Methods of Qin Sound puts forward 16 aesthetic categories of the guqin, named: light, loose, crisp, slippery, high, clean, clear, empty, quiet, strange, ancient, dan, middle, harmonious, disease, slow, and explain its connotation and extension in detail under each category. From the perspective of the history of piano studies, some of the contents of the Sixteen Methods of Qin Sound can be used as necessary supplements to Xishan Qin Kuang, and are important documents for exploring the early appearance of Xishan Qin Kuang. It is also instructive for contemporary piano learners. The appendix includes Wanfeng Pavilion Fingering Techniques and Twenty Illustrations of Left and Right Hands, which confirms the content of Xishan Qin Kuang. Many fingering interpretations are further clarifications of Xishan Qin Kuang.
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