There is a deep relation between Zhu Xi and the qin: Zhu Xi not only played the qin, but he also did research on the qin, collected the qin, held qin gatherings and built his own instruments. In his work Explanations to the Intonation of the qin he used the notion of "qin intonation" to explain the relationship between the twelve tonalities and the pentatonic scales on the qin. Zhu Xi’s work on music is less well know than his philosophic contributions to Confucian thought. In his work on music he continues the Confucian tradition which relate music to the Confucian orthodoxy. While perceiving music from a Confucian perspective, Zhu Xi acknowledged the independent status of the arts. During leisure time the arts could be used to temper the heart xin, shape the personality and thus prepare the ground for attainment of sainthood. This paper aims to contribute to the studies of Song-Ming Confucianism by exploring the nature of qin aesthetics in the works of Zhu Xi.