朱熹以“理气论”为哲学根基,构建了独特的古琴理论体系。在理气二元的思想框架下,他将琴器、琴律与自然法则相贯通,使古琴成为体现天理的载体。在审美旨趣方面,他反对宋代琴坛追求繁复技巧的风气,主张回归“萧散闲远”的质朴风格,强调五声正音的“自然”表现。在实践层面,朱熹将琴艺与理学修养相结合:一方面通过“持敬守静”的操缦工夫涵养心性,另一方面借助“格物致知”的琴律探索穷究天理,最终实现“养中和之性,禁忿欲之心”的修身目标。

ZHU Xi established a unique theoretical system for the guqin based on his philosophical foundation of the Li-Qi theory. Within the dualistic framework of Li (Principle) and Qi (Vital Force), he interconnected the instrument, its tuning system, and the laws of nature, transforming the guqin into a medium embodying the Heavenly Principle. Regarding aesthetic orientation, he opposed the Song guqin circle's trend of pursuing intricate techniques, advocating instead for a return to the serene and untrammeled style and emphasizing the “natural” expression of the pentatonic framework. On the practical level, ZHU Xi integrated guqin artistry with Neo-Confucian self-cultivation by employing the disciplined practice of “maintaining reverence and preserving stillness” in playing to nurture moral character, while exploring the Heavenly Principle (Li) through the “investigation of things and extension of knowledge” via qin tuning systems, ultimately achieving the self-cultivation goal of “nourishing a harmonious nature and restraining resentful desires.”