与琴僧的音乐实践活动形成鲜明对比的是佛家思想在琴论中极度缺乏,中国文化中儒、释、道三足鼎立的现象在古琴美学领域出现了倾斜。与儒、道思想在古琴音乐中的地位相比,佛教思想的影响甚微。浩如烟海的琴论文献中极少反映佛教思想的内容,琴曲创作也如此。众多琴谱中,和佛曲有关的只有《释谈章》、《普庵咒》、《色空诀》、《法曲献仙音》、《那罗法曲》等寥寥数曲。到明清,琴论中还出现了对佛理的强烈排斥,甚至禁止僧人弹琴(如明杨表正《重修真传琴谱?乐不妄传论》中就有三例排斥僧人弹琴的记载),理由大致有三:其一,古琴是华夏雅乐之代表,而佛曲则是连郑卫之音都不如的胡夷之乐,所以不能用这些音乐;其二, In sharp contrast with the music practice of the piano monk, there is an extremely lack of Buddhist thought in the piano theory. The phenomenon of the three pillars of Confucianism, Buddhism and Taoism in Chinese culture appears to be tilted in the field of guqin aesthetics. Compared with the position of Confucianism and Taoism in Guqin music, the influence of Buddhism has little effect. The voluminous piano theory rarely reflects the content of Buddhist thought, so is the piano music. Among the many piano scores, there are only a handful of songs related to the Buddhist songs, such as “Talking Talking”, “Pu An Mantra”, “Color Space tactic”, “Fa Xian Xian Xian Yin” and “Na Luo Fa Qu”. In the Ming and Qing dynasties, there was also a strong rejection of Buddhism in the Qin theory, and even banned the monks from playing the piano (for example, there were three cases in which the monks played the piano excluded from the “Legend of Reckless Biography” The reason is roughly three: First, the guqin is the representative of Huaxia Ya Le, while the song is not even the sound of Zheng Wei’s Hu Yi music, so can not use these music; Second,