One area that has not been extensively investigated in academia regards the Chinese stringed musical instrument called Guzheng as a vehicle for Western classical performances. This study addresses that gap by integrating multiple theoretical perspectives and organological insights on the Guzheng. The present study introduces new concepts for merging the Guzheng’s traditional structures with Western compositional frameworks, focusing on a Guzheng ensemble adaptation of Debussy’s Arabesque No. 1. The methodological approach of this study conducted based on score analysis which refer to  the iterative adaptation process. The score analysis serves as the foundation for comprehending Debussy's compositional intentions, harmonic language, and structural elements in Arabesque No. 1. The findings reveal that using a Guzheng ensemble to adapt Debussy’s work challenges traditional Western-centric representations of exotic instruments, promoting a cross-cultural reinterpretation that respects both Western and Chinese musical traditions. This study contributes to both Western classical repertoire and Chinese musical practice by illustrating how cross-cultural adaptations can enrich artistic narratives and inspire future innovations.  Despite its contributions, this study acknowledges limitation. The focus on a single composition (Debussy's Arabesque No. 1) necessarily constrains the generalizability of findings to other Western classical works with different structural, harmonic, or textural characteristics.