In November 2003, it was selected into the second batch of the Representative List of the Intangible Heritage of Humanity. In 2008, it was automatically included in the Representative List of the Intangible Cultural Heritage of Humanity. In the long history of China, the guqin has always occupied an important position, and together with Chinese calligraphy, painting, poetry and literature, it has become the carrier of Chinese traditional culture. The guqin is the most representative of China's solo instruments. People often play the guqin not only for music, but also for self-entertainment, meditation, personal cultivation and emotional communication between close friends. From early literary works and archaeological discoveries, we can know that the guqin has a history of more than 3,000 years in China. Its performance is a symbol of elegance and status, so it has become an elite art of aristocrats and literati, rather than a performing art for the masses. In fact, the guqin has an inseparable origin with the history of Chinese literati, because it is one of the qualities and cultivations required by Chinese literati, "qin, chess, calligraphy, and painting", and it ranks first. The art of guqin has absorbed a large number of elegant and beautiful tunes, with complex and exquisite playing techniques and unique musical notation. A large number of musical scores have been handed down orally. The guqin has seven strings and thirteen frets. Through ten different ways of plucking the strings, the performer can play four octaves. There are three basic techniques for playing the guqin: san, an, and pan. "San" is the sound of the open string, which is strong and thick, and is often used for the backbone of the tune; "pan" is to lightly touch the frets with the left hand to produce light and floating music (overtones), and is often used to play colorful tunes; "an" is to press the string with the left hand to produce sound, and moving the pressing finger can change the effective string length to achieve the purpose of changing the pitch. The same pitch can be played on different strings and different frets using different methods such as san, an, pan, etc., and the timbre is rich in changes.