Since the 20th century, many musicians have drawn inspiration from Guqin music to create Guzheng music compositions. These creative approaches can be categorized into three main paths: first, transplanting Guqin music to align with the characteristics of the Guzheng; second, simulating Guqin music features in the Guzheng compositions; and third, incorporating elements of Guqin music to create original Guzheng pieces. In this paper, three specific Guzheng compositions are selected as case studies for in-depth analysis. These compositions, namely Chang-Yuan Wang's adaptation of “Guanlingsan”(1987), Zai-Ping Liang's adaptation of “Daoyiqu”(1931), and Deng-Shan Zhao's composition “Tiemayin”(1985), exemplify three distinct approaches taken by 20th-century Guzheng musicians in assimilating elements from Guqin music. Through the examination of these works, the study explores how the translation of Guqin music techniques and the reproduction of musical elements contribute to the creation of new auditory experiences in Guzheng music. Additionally, it investigates how the backgrounds of the composers and the characteristics of the instruments used contribute to the formation of variations in the compositions.

　　Study reveals that adapted “Guanlingsan” reinforces the martial part of original version through utilizing the characteristics of modern Guzheng (21 strings), without pursuit of imitating Guqin. In another way, “Daoyiqu” shows the technical invention and personal performance style to come closer to the initial music. “Tiemayin”, however, interweaves timbre changes, charm skills and performance procedure of Guqin to recreate a subtle and quaint atmosphere.　Three pieces tell composers’ distinctive backgrounds, aesthetic values and technical skills.