The art of Guqin was endowed with certain sanctity from the very beginning all the way through its later development, from Fuxi (伏羲) to Shennong (Divine Farmer), from hunting times to agricultural civilization, from Confucianism to Taoism. The study of Guqin is inseparable from the understanding and discussion of the ancient historical and cultural background and the profound relationship between man and the Heaven. The history of playing the Guqin is a process of continuous infiltration and permeation of the Confucian thoughts of “rites/rituals/manners/propriety (Li)” and “music.” The players are required to be adept at playing the Guqin to the utmost perfection in their technique and skills, a process of repetition and accumulation until reach the spiritual ascent. According to the reasoning of both the Book of Changes and the Doctrine of the Mean, the highest possible stage of playing Guqin for cultivating temperament is the unity of human and the Guqin, in terms of “education accomplished in music,” “seeking delight in the arts,” and “thinking without depravity.”