The Ming and Qing dynasties represent a transformative era in the history of the guqin, characterized by a significant proliferation of printed tablatures and the formalization of regional aesthetic schools. This paper examines the evolution of the guqin notation system, specifically the transition from the relatively skeletal Jianzipu (abbreviated character notation) of the early Ming to the highly sophisticated and rhythmically suggestive systems of the late Qing. It argues that this technical evolution was not merely a pursuit of precision but a fundamental driver in the formation of regional performance traditions. By analyzing seminal works such as the Shenqi Mipu, Songxianguan Qinpu, and Wuzhizhai Qinpu, this study demonstrates how subtle modifications in fingering symbols and the introduction of Huifen (decimal position markers) allowed schools like Yushan and Guangling to codify their unique sonic identities. The transition from oral transmission to a "text-centered" lineage enabled these regional styles to maintain consistency across geographical distances. Furthermore, the standardization of these tablatures facilitated a broader dissemination of musical knowledge among the literati class, deeply embedding the instrument into the cultural fabric of the era. Ultimately, this research highlights the dual role of the notation system as both a functional record of musical performance and a cultural vessel for regional artistic identity, providing a new perspective on the interplay between musical technology and aesthetic divergence in late imperial China.
