论文从演奏视角切入，连接当代与古代、理论与实践、田野与史料、民族与地域中的笙相关信息，探究中国捧笙手法、指法、角度及相关笙制的历史流变、文化意义与实用价值。作者将演奏本体、制作工艺、文化生态作为捧笙文化“三要素”,基于多种笙制，依据文献、文物、演奏实践、学术理论，以跨时空、跨民族、跨学科方式展开研究，提出：当代马蹄形音位笙及相关指法在春秋时期已有雏形，类属俗笙；曾侯乙墓笙理论上可一苗双音；今葫芦笙有一定“活化石”意义；并通过考辨“荆梁之南，尚仍古制”“八音缺匏”“穿匏达本”、一苗双音、雅笙、俗笙等既往未及深究的问题与现象，探究笙演奏手法表象之下，不同时期、不同地域、不同民族的捧笙之关联与共性，提出中国笙文化具有多元一体之格局。

From the perspective of performance,this paper probes into sheng-related information across contemporary and ancient eras,theory and practice,fieldwork and historical materials,as well as ethnic and regional dimensions,to explore the historical evolution,cultural significance,and practical value of Chinese Pengsheng(handheld sheng)techniques,fingerings,angles,and related sheng structures.Taking performance ontology,craftsmanship,and cultural ecology as the “three core elements”of Pengsheng culture,the author conducts research based on various sheng types through documents,cultural relics,performance practices,and academic theories,adopting trans-temporal,cross-ethnic,and interdisciplinary approaches.Key proposals include:the contemporary horseshoe-shaped pitch layout sheng and related finger techniques can trace their prototypes to the Spring and Autumn period,belonging to the category of Susheng;the sheng from the Tomb of Marquis Yi of Zeng is theoretically capable of producing dual tones from a single bamboo pipe;the existing Hulusheng(gourd sheng)holds certain“living fossil”significance.Through critical textual research on overlooked issues and phenomena such as“the south of Jing and Liang,where ancient systems still prevail,”“the absence of the Pao(gourd)in the Eight Sounds,"“the producing process of piercing the gourd to the bottom,”dual tones from a single bamboo pipe,Yasheng,and Susheng,the study explores the connections and commonalities of Pengsheng across different periods,regions,and ethnic groups beneath the surface of performance techniques,thus proposing that Chinese sheng culture embodies a pattern of pluralistic unity.