Composed in 1998, Symphony No. 10, “Fishing in Snow”, is a representative work among Chinese contemporary composer Zhu Jianer's symphonic pieces. Starting from his consistent experimental attitudes, Zhu fuses the vocal line of traditional Chinese dramatic music and the Zither Chin's solo into western symphonic sound, and also combines the pentatonic color with twelve-tone sound in this work. Consequently, he creates a compositional style which penetrates the Chinese and Western culture and soars across the ancient and modem temporalities. Besides, by introducing Liu Zongyuan's poem, “Fishing in Snow”, and the theme of an ancient repertoire "Three variations on plum flowers" into this music, Zhu bestows it the depth of referential meaning and vivid descriptiveness. The academic aim of this essay is to analyze and interpret Zhu's Symphony No. 10 from different angles, and to evaluate its artistic achievement as a whole. The composition of the essay follows the principle of eclecticism, extending from the syntactical to referential level of music. There are six stages in this essay. In the first stage, the historical background of Zhu Jianer's music is introduced; in the second stage, the syntactical meaning of Zhu's Symphony No. 10 is explored from the viewpionts of musical elements and form; the third stage focuses on the description of temporal phenomena; the fourth stage is the interpretations of referential meaning according to the data acquired in previous analytical stages the fifth stage limits itself in the aspect of performance practice, specifically regarding the performing interpretation of vocal chanting and the qin, the Chinese seven-stringed zither in this piece; the last stage is an overall-view critique, which points out the aesthetics centered on the fusion between declining tradition and modernism in Zhu's Symphony No. 10.