清代文人音乐家汪绂(汪烜)博通礼乐,著有《乐经律吕通解》《乐经或问》等,辑录有《立雪斋琴谱》等乐论与琴学文献,其琴谱序提出“惟淡以和”重要美学命题。他治学宗奉朱子,在朱子心性论基础上,承周敦颐“淡和”观并融入自身主静思想,对“惟淡以和”作新阐发,将其视为内在修养功夫,凸显乐的道德践履意义。汪绂重塑“淡—和”关系,以“淡”为“和”之前提,主张“淡和”之乐既可修养心性,亦能化民成俗;其思想与理学主静、朱熹“已发未发”“心统性情”等学说紧密关联。

WANG Fu (also known as WANG Xuan), a literati-musician of the Qing dynasty proficient in ritual and music studies, authored such works as A Comprehensive Exegesis of the Yuejing and Musical Temperament (Yuejing Lülu Tongjie) and Disquisitions on the Yuejing (Yuejing Huowen), and compiled treatises on music and guqin studies, including The Lixue Studio Qin Tablature (Lixue Zhai Qinpu). In the preface to his Tablature, he proposed the significant aesthetic proposition: “Only through quiescent plainness comes harmony.” A follower of ZHU Xi, WANG Fu offered a renewed interpretation of this concept based on ZHU Xi's theory of mind and human nature. Inheriting ZHOU Dunyi's notion of “serenity and harmony” while integrating his own emphasis on tranquility, he conceptualized it as a form of inner self-cultivation, thereby highlighting the moral function of music. WANG Fu reconceptualized the relationship between “serenity” and “harmony”, positing “serenity” as the prerequisite for “harmony”. He argued that music characterized by serenity and harmony serves not only to cultivate the individual's mind and nature but also to civilize the people and shape proper customs. His thought is closely aligned with the Neo-Confucian ideas of valuing quiescence, as well as ZHU Xi's theories of “the latent and the manifest states” and “the mind as the master of [human] nature and the emotions”.