Abstract: This paper explores the symbolic and practical role of the lute ( qín 琴) in Chinese self-cultivation traditions, emphasizing its function as a medium for spiritual and moral refinement. Drawing on Han period texts such as the Huáinánzǐ 淮南子 and Qíncāo 琴操, the lute is portrayed as an instrument for returning ( fǎn 反, guī 歸) to authentic nature and heavenly virtue, restraining licentiousness, and harmonizing one's essential nature. Etymological analysis links the lute with the concept of restriction ( jìn 禁), reinforcing its role in regulating desires and purifying the mind. Playing the lute is thus both a ritualized practice and a form of meditation, integrating Daoist and Buddhist influences aimed at cultivating vital breath ( qì 氣) and extending longevity. The paper also draws parallels with ancient Greek philosophy, particularly the concept of the "music of the spheres" and the myth of Orpheus, highlighting a shared ideal of music as a cosmic and moral harmonizer. In Greek thought, music serves to align the soul with cosmic order and ethical virtue, much like the Chinese lute's role in harmonizing body, mind, and spirit. The myth of Orpheus exemplifies music's power to transcend human limitations and restore harmony between humanity and nature. Both traditions emphasize the disciplined, ritualized nature of musical practice, involving precise bodily postures, mental focus, and purified environments, reflecting a universal understanding of music as a transformative, self-cultivating art that connects the individual to a higher, natural or divine order.
Irina-Mihaela Ivaşcu (Thu,) studied this question.