The cultural uniqueness of Chinese zither (guzheng) music is embodied in its distinctive microtonal expressions (e.g., FA+ and TI-), which differ fundamentally from those of Western equal temperament. Nevertheless, the dominant position of standardized tuning in contemporary music education has gradually diluted these traditional intonation techniques, posing a severe threat to the inheritance of this intangible cultural heritage. Embodied cognition theory highlights the indispensable role of sensorimotor interaction in the learning process. Yet, its potential for addressing the acquisition of non-fixed-pitch systems in culturally distinctive music remains underdeveloped, resulting in a notable disconnect between theoretical advancements and practical pedagogical needs. The core premise of this research is that the mastery of culturally specific pitches is not a passive process of auditory memorization, but an active, multisensory co-construction rooted in physical experience. Guided by the 4E cognition framework (Embodied, Embedded, Extended, Enactive), this study argues that the effective internalization of traditional zither microtones necessitates the synergistic integration of auditory perception, vocal motor output, and kinesthetic feedback—a holistic process that conventional single-dimensional training methods (such as isolated ear training or purely technical drills) are unable to facilitate. The key innovative contribution lies in the practical translation of embodied cognition principles, including perception-action coupling, conceptual metaphor simulation, and multisensory feedback fusion, into a systematic and culturally adaptive educational framework. Diverging from traditional pedagogical paradigms, this research pioneers the development of a multisensory embodied training framework integrating auditory perception, vocal imitation, and gestural scaffolding. This framework operationalizes embodied cognition through three core dimensions: first, forging a tight perception-action loop by linking targeted auditory input with immediate vocal mimicry; second, adopting metaphor-based gestural cues (upward spatial movements for FA+ and downward movements for TI-) to facilitate the mental visualization and simulation of abstract microtonal concepts; third, synthesizing auditory feedback from vocalization and kinesthetic feedback from gestures to strengthen the sensorimotor memory of culturally specific pitches. This innovative framework addresses the gap in applying embodied cognition to non-Western music education. It provides a novel strategy to reverse the erosion of traditional intonation by counteracting equal-tempered biases through body-centered learning. The significance of this study resides in its dual innovation. Theoretically, it validates the value of embodied cognition in the acquisition of culturally contextualized sensorimotor skills, thereby expanding the theory's scope to encompass intangible cultural heritage music. Pedagogically, it delivers a replicable, self-directed training approach that enables learners to independently internalize traditional intonation, transcending the limitations of the conventional master-apprentice model that relies on verbal instruction. By confirming that multisensory embodied training can effectively preserve the cultural authenticity of musical intonation, this research opens up new avenues for culturally responsive music education. It reaffirms the body's role in musical understanding and heritage transmission.