This article studied the historical changes of Aljaeng(軋箏) in China, its initial form and purpose, the appearance and decoration of Aljaeng in different periods, and conducted a diachronic study of Aljaeng by finding data that had not previously been published in the academic world through my field research. In addition, we examined the transmission of Aljaeng in various cultural backgrounds through musical instruments currently passed down to the Chinese private sector, and speculated the interrelationship between these instruments and traditional Aljaeng. This study combined the diachronic and public studies of Aljaeng to examine the historical change process and the current transmission status, while most of the preceding studies were limited to diachronic or public studies. By reviewing the ‘origin theory of axis(筑)' of Aljaeng, the relics excavated from the Han Dynasty burnstone and Buddhist stone carvings of the Northern Dynasty can be seen as an early form of Aljaeng. The posture of playing Aljaeng with his body leaning against his shoulder can be found in the relics of the Han Dynasty and the Northern Dynasty. After that, influenced by the way the string of the axial instrument was played, the Aljaeng changed to a method of rubbing the string. According to literature from the Tang Dynasty to the Yuan Dynasty, Aljaeng has been handed down in the form of playing with a short body and a bamboo bow with seven strings. The change in use, which was used as a court instrument before the Song Dynasty and also used in folk music after the Song Dynasty, can be seen from records. After the Ming Dynasty, through iconographic data, Aljaeng's playing method changed into two ways: rubbing the string with a bow and playing with fingers. In addition, the shape of the instrument also changed to two long and short bodies. In the Qing Dynasty, literature and iconographic data recorded Aljaeng with a short body and extended to 10 lines. Currently, in the private sector, there are Jwaegeum in Shandong Province, Moonimgeum in Fujian Province, andAlgeum in Hanam Province, which are called variations of Aljaeng. All folk instruments handed down by region have continued the traditional Aljaeng in terms of the size and playing method of the instrument. Private Aljaeng has a short body, and the playing method is vertically leaned on the left shoulder, and the right hand rubs the string with a bow. This is a change that has been changed by transforming the tradition into various forms depending on the region.