虞山琴派創建於明末清初，由嚴澂所創建，徐上瀛踵武其後。他們所倡導之琴樂風格，為世人所重視，對清代以後影響甚钜，長久以來被視為琴樂審美境界之最高標準。虞山琴派之風格自清王坦闡述其為“清微澹遠”的琴樂風格後，各家均沿用之，然而，此說卻未見於嚴澂、徐上瀛二人自己的論述中，而他們二人的審美用他們自己的詞匯是為”博大平和，輕重遲速”。因此引發個人對嚴、徐二人之琴樂審美思維究竟為何之研究動機。
歷來的研究資料上都載明嚴、徐二人雖同屬虞山琴派，然而審美思想卻不盡相同，在研究過程中發現琴家李楓曾提出不同的見解。基於此，本篇研究以探索嚴、徐二人琴樂思想是否相異為前提，試圖探討虞山琴派的琴樂審美觀點。本篇研究主要採用嚴、徐二人的論述原文進行探討，提出文本舉証嚴澂與徐青山的琴樂美學思想為一脈相承的。由於“清微澹遠”的虞山琴派風格特點之論點並非出自嚴、徐二人的本原，本文試圖整理他二人的論述，找出嚴、徐二人本原的琴樂藝術審美觀點》也由於長期以來，虞山琴派對琴樂發展有舉足重要妁影響，是故，重新審思虞山琴派的審美思想，對當代未來琴樂的發展及琴樂演奏美學的發展都是具有意義的。

Yu-shan School of guqin was established by Yen-cheng in late Ming dynasty. Xu Shang-ying was the one who followed Yen. The principle of their thinking in qin music aesthetic was influenced to the development of guqin music culture since late Qing until today. But, there was different aesthetic thinking in some parts of qin music between them had mentioned since middle Qing, such as Yen oppose speedy music but Xu was not.
The aesthetic thinking of this school was definded as ‘purity ($青)，refinement (微),detachment (淡)，distance (遠）’ by Wang-tan in Qing dynasty but not in Yen and Xu their own words. In their own words. That is ^profound，peace(博大平和），piano-forte and speedy-tardiness(強弱遲速）’ .This research attempt to prove that there is no difference between Yen and Xu in the thinking of qin music aesthetic. One have bring out the result that the music aesthetic of Yu-shan school can be defined as not only 'purity, refinement, detachment, distance/ but also ‘ profound, peace, piano-forte and speedy-tardiness’