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Qiuyan provided specific characteristics of seal engraving art imitating Han
Dynasty seals, stating: "In white script seals, the characters must abut the edges; there should be no gaps, as gaps are not in accordance with antiquity... When there are one or two characters in the seal inscription with a natural gap, it should not be filled; many ancient seals have such gaps". He established the fundamental principles for seal engraving practice by studying Han Dynasty seals. His methodology has continued to benefit seal engraving art from his time to the present day, earning him the title of a master in the field of seal studies for generations.
327:, Wu Qiuyan could not live like an ordinary person and only got married when he was nearly forty years old. After marrying a young girl from the Zhao family, who sold liquor, he faced an even greater misfortune: the girl was originally a married woman but had returned to her mother's home to escape a bad year. Her father concealed the truth and married her off to Wu Qiuyan. Four years later, the original husband of Zhao's daughter discovered the situation and reported Wu Qiuyan. Additionally, Zhao's family was involved in counterfeiting money, which also implicated Wu Qiuyan. As a result, he was arrested and subjected to humiliation.
38:
623:, Wu Qiuyan describes the arrival of spring as the east wind melts the ice. Despite his illness, he expresses his anticipation and love for the beautiful springtime, saying: "The thaw awakens all living beings, and everything in the world becomes new. Longing for clear skies and the morning sun, even in sickness, I cherish this auspicious time. Yao's elegant writings endure, and Zhou's fields and trees welcome spring. My heart is already like this; I need not write like a deity".
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arrogance, a lack of ambition for fame and fortune, and a sense of regret for unfulfilled ambitions. Wu Qiuyan expressed his appreciation for time and lamented its fleeting nature in many of his poems, such as 'During the day, I sleep and sigh; beautiful moments slip away easily', 'The path, not played like a zither, and when the road ends, why bend one's waist?' and 'Time passes swiftly, and it's a pity; my youthful aspirations have often been in vain'.
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from the
Ancients), '續三十五舉' (Sequel to Thirty-Five Entries), '再續三十五舉' (Another Sequel to Thirty-Five Entries), and more, underscoring the profound influence of Wu Qiuyan's '學古編'. Hence, later generations often referred to '學古編' as '三十五舉' and regarded it as a classic in the fields of seal studies and seal carving theory. It is celebrated in the world of seal studies as a 'pillar of the seal carvers,' reviving the art after a period of decline.
650:. He was well-versed in various fields, including classics, history, philosophy, and literature, and had a collection of books that reflected his broad knowledge. He lived in seclusion in a small house in Shenghua Lane, where he had a small library on the upper floor. The walls of this library were adorned with various books related to classics, history, and philosophy, all neatly organized.
315:, the commissioner for political integrity in southern Jiangnan and western Zhejiang, once came to visit him out of admiration. Wu Qiuyan refused to meet him and shouted from the study tower, "Is this tower suitable for a nobleman to ascend? I would be willing to meet you tomorrow." The next day, Wu Qiuyan did not visit in person to express his gratitude, showing his straightforward nature.
1347:
Wang Xing described Wu Qiuyan in "The
Biography of Wu Qiuyan" as follows: "Wu Qiuyan often roamed alone, seeking no companions. On clear days, he would wander through the mountains and lakes without a set destination, buying wine wherever he went. When slightly intoxicated, he would sit cross-legged,
310:
Wu Qiuyan never held any official position. He lived in seclusion in
Qiantang, Shenghua Fang. He spent years sitting and reading in his small home tower without any idleness. He often had around a hundred students coming to study with him, lecturing on scriptures and discussing philosophy tirelessly.
1124:
Hu
Changru's "Inscription on the Tomb of My Master" says that Zhao Tianxi's purchased concubine died during childbirth: At first, my master was forty years old and unmarried. He was acquainted with Zhao Tianxi from Wanqiu, who had bought an orphan girl from a wine-selling family to be his concubine.
586:
and lyrics were intertwined, accompanying him throughout his life's journey. For example, in one of his poems, he wrote: "Alone, I carry my phoenix flute to the mountain's entrance, the trees brushing against the spring breeze, the grass brushing against my clothes. I dare not play heavenly melodies
1282:
In Wang Xing's biography of Wu Qiuyan, he raises doubts and questions, saying: "People often say that Wu Qiuyan is too proud to endure humiliation, and perhaps his narrow-mindedness led to his own downfall. Refusing to make baseless judgments about people and observing his long songs of deep sorrow
553:
Wu Qiuyan emphasized the integration of seal engraving theory and practice, with a particular focus on the arrangement of the seal's composition. As a result, his seal engraving art exemplified the simplicity and purity of Han
Dynasty seal script techniques. In his work "Thirty-Five Principles", Wu
538:
to engrave characters, resulting in round, smooth, and elegant seal impressions, both in vermilion and white scripts. Concerning the seal script technique for imitating Han
Dynasty seals, Wu Qiuyan proposed specific technical guidelines in his "Thirty-Five Principles," emphasizing that "seal script
473:
remarked: 'The publication of this compilation can wash away the common bad habits.' Most Yuan
Dynasty designs for imitating Han Dynasty seals adhered to the rules established in '三十五舉.' Many subsequent works on seal studies directly followed the format of '三十五舉,' such as '續學古編' (Sequel to Learning
370:
The formation of Wu Qiuyan's personality was closely related to his physical disabilities. Due to these limitations, he couldn't pursue a career through scholarly pursuits like others. This heavy blow left a deep-seated trauma in his heart, resulting in a conflicting personality marked by solitude,
1010:
He lived in seclusion at
Shenghua Fang, known for his noble conduct. He had a small tower at home, with walls adorned with books, where he would sit and read all day without growing weary. His nature was straightforward. One day, the Commissioner for Political Integrity came to visit him, and he
975:
Yan had a free-spirited nature, was not inclined to be restrained, had a tiny left eye, and a limping right leg. Despite this, he had a unique grace about him, and his every word and smile brought joy. When entertaining guests, he would often play the bamboo flute, toy with an iron wish-granting
653:
Wu Qiuyan authored several notable works, including "學古編" (A Compilation of
Ancient Learning), "印式" (Seal style, in two volumes), and "閒居錄" (Diary of a Leisurely Life). He also left behind collections of poetry, such as "周秦山房詩集" (Poems from the Cottage in the Zhou and Qin Mountains) and "竹素山房詩集"
611:
provinces during the 11th year of the Yuan Dynasty (1307). The poem describes the suffering of the people, the desolation of the land, and the horrifying scenes of corpses lying in the fields, unburied. It even alludes to the desperate act of cannibalism as people struggled to survive. This poem
464:
Wu Qiuyan's '三十五舉' (Thirty-Five Entries) presented a series of rules for creating seal carvings inspired by Han Dynasty seals, covering aspects such as seal shape, character forms, seal script, and composition. These rules provided a foundation for those in the early stages of seal carving art
1348:
singing ancient folk songs with great enthusiasm. Afterward, he would burst into tears before returning home... On moonlit nights, he would play the dongxiao (a vertical bamboo flute) while riding on the roof ridge, creating a mournful and robust melody, full of sorrow and strength."
1619:
1508:
357:
However, there are also historical records suggesting that Wu Qiuyan created a false image by leaving behind his poem, faked his own death, and lived in seclusion in his hometown of Kaihua to spend his remaining years in peace. The accounts vary, making this a popular historical
507:
perspective of "fulfillment as beauty," which is a prevalent aesthetic feature of Han Dynasty seals. In Han Dynasty seals, Chinese characters typically cover the entire surface of the seal, presenting an art form characterized by fullness, simplicity, substance, and dignity.
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shouted from his study tower, "is this tower worthy of hosting a noble guest? I am willing to meet you tomorrow." However, the next day, he did not extend his thanks. Later, he was unjustly arrested, but he refused to endure humiliation and chose to die by drowning.
397:'s lord understands my lifelong ambitions. As I depart in a flat-bottomed boat, I suddenly look back; in the future, we may reunite while wearing rustic clothing'. These verses reveal Wu Qiuyan's desire to renounce worldly ambitions and seek reclusion.
302:
591:, depicting scenes of carefree wandering in nature: "I love Wang Zijin, drifting freely through the heavens, dancing with green peaches and playing the flute. As the flowers fall, the city enters autumn". Wu Qiuyan incorporated the story of the
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393:: 'Guo Taixian dreams of distant gold; exceptional talents eventually disappear. Decaying bonds are like horses roaming a thousand miles; it's hard to confine them in cages. In the clouds and skies, I maintain lofty aspirations, while
562:
539:
techniques are akin to clerical script" and encouraging "squareness, straightness, avoiding circular shapes, and even when using slanting strokes, one should cleverly write beyond them" as practical techniques in seal engraving art.
405:
453:, in his work '蛻龕印存' (Reminiscences of Tui Kan), stated, 'The use of seals began in the Zhou and Qin periods,' and later generations 'engraved inscriptions on walls using ancient methods... Wuqiu Zi Xing vigorously advocated
602:
The "竹素山房詩集" (Poetry collection from the Cottage of Bamboo on the Mountains) written by Wu Qiuyan is rich in content and profound in meaning. One of his poems, titled "丁未歲哀越民," vividly depicts the famine in
793:
Wuyan (1272-1311), whose original surname was Wuyu, is also known as Wuyan. His courtesy name was Zixing, and he had the alternate names of Zhenbai, Zhufang, and Zhusu. He was commonly referred to as 'Mr.
502:
approach that relied on a foundational understanding of ancient seal principles and used "antiquity" as the guiding criterion for creating imitations of Han Dynasty seals. This methodology reflects the
1292:"滌襟樓筆記"，as recorded in "衢縣誌" . Refer to "浙江省志：衢州市志" (Zhejiang Provincial Gazetteer: Quzhou City Gazetteer), published by the Zhejiang Provincial Local History Compilation Committee, June 2016: p.365.
578:
In ancient texts, Wu Qiuyan is described as follows: "On moonlit nights, he would hold his bamboo flute, ride on the rooftop, and play. The sound was mournful yet robust". His profound love for
426:', '閒居錄' (Diary of a Leisurely Life), '竹素山房詩集' (Poetry collection from the Cottage of Bamboo on the Mountains), and '周秦石刻釋音' (Interpretation of Inscriptions from the Zhou and Qin Dynasties).
1041:
Residing in Hangzhou, in a small tower known as "Zhusu Mountain Residence" within Shenghua Fang, the walls of the tower were adorned with books, and he had dozens, even hundreds of students.
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and Wu Qiuyan, it is evident that Zhao seal and his clan seal were significantly influenced by Wu Qiuyan's personal vermilion script seal, showing a tendency towards the characteristics of
1125:
This girl had previously been married but, in times of famine, had returned to her mother and secretly lived with her later husband without uttering a word, often disappearing for a while.
724:
1231:
Wu Qiuyan's home became entangled in a counterfeit money case, with these two individuals trying to shift the blame onto Wu Qiuyan. In reality, Wu Qiuyan was unaware of the matter.
374:
Wu Qiuyan was renowned for his high moral standards, a free-spirited disposition, and a conversational style rich in humor. He was skilled in playing musical instruments like the
346:, below". Someone found Wu Qiuyan's shoes at the broken bridge, leading to suspicions that he had drowned by suicide. Wu Qiuyan's disciples held a memorial service for him by the
422:
Wu Qiuyan had a strong passion for classical studies and was well-versed in the writings of various schools of thought found in classical literature. He authored works such as '
1188:
631:
825:
Wu Qiuyan, whose given name is Yan, courtesy name Zixing, had the aliases Zhufang and Zhusu. He was also known as 'Zhenbai Hermit' and 'Plainclothes Daoist.'
294:
in his left eye and a limp in his right leg. His friends liked his natural humor and felt that his conduct still displayed grace despite his disabilities.
1156:
Later, due to the exposure of the stepfather of the concubine's counterfeit money scheme, Wuqiu Yan was implicated, and, humiliated, so he decided to die.
433:' was completed in the year of Da De Geng Zi (1300), and its first volume is known as '三十五舉' (Thirty-Five Entries). This work is one of the earliest
568:
654:(Poetry collection from the Cottage of Bamboo on the Mountains). Additionally, he made contributions to musical notation with works like "九歌譜" (
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638:, but his free spirit flows with freshness, cleansing away the dust and dirt of the mundane world, revealing a unique and untamed quality".
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any longer, for fear of startling the stones into dispersing like drifting clouds". Another poem expresses his admiration for
734:
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662:). Furthermore, he engaged in commentaries and annotations, including "周秦刻石釋音" (Interpretation of the Inscriptions on
647:
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in its developmental history, establishing an aesthetic paradigm for seal engraving. Wu Qiuyan, proficient in the
159:
1753:
671:
599:," hinting at his own longing for Daoist cultivation and reflecting his independent and reclusive character.
338:"Liu Ling's efforts were in vain, Butterflies fly westward, to another realm they go. To inquire about the
470:
449:, as well as the art of seal carving. It contains many of Wu Qiuyan's innovative insights and concepts.
441:. 'Thirty-Five Entries' constitutes the core of this book, elucidating the evolution and development of
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1733:周秦刻石釋音" (Interpretation of the Inscriptions on Zhou and Qin Stone Tablets), by Wu Qiuyan, annotated by
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634:), the evaluation of Wu Qiuyan's poetry is as follows: "His poetry does not adhere strictly to
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Wu Yan (Wu Qiuyan), a prominent figure in Qiantang, disappeared after suffering humiliation.
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255:
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Wu Qiuyan was a highly learned scholar with a deep appreciation for ancient texts and the
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446:
390:
864:
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63:
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531:. His seal engraving art did not adhere rigidly to established conventions; he used
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149:
254:, well-versed in music theory, and with a rich collection. He was born in Kongbu,
1741:, as part of the initial compilation of the Collectanea of the Republic of China.
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Hu Changru (1249-1323), served in both the late Song and early Yuan dynasties.
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Wu Qiuyan later visited Chou Yuan but didn't meet him. He left behind a poem:
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1734:
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staff, or wield a brush to create characters as if no one else were present.
347:
343:
239:
231:
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Poetry collection from the Cottage of Bamboo on the Mountains, part of the
385:
In his poem 'Sending Someone into Seclusion,' Wu Qiuyan depicted scenes of
234:(孔丘), so he adopted the name Wu Qiuyan, and he was commonly referred to as
1679:
1060:
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909:
868:
608:
263:
200:
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59:
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Wu Qiuyan: Poetry collection from the Cottage of Bamboo on the Mountains
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491:
351:
132:《竹素山房詩集》(Poetry collection from the Cottage of Bamboo on the Mountains
1683:
655:
592:
583:
498:
when creating imitations of Han Dynasty seals, Wu Qiuyan developed a
450:
394:
259:
251:
247:
69:
413:' (Learning from the Ancients - Compilation) (Ming Engraved Edition)
382:(a type of vertical bamboo flute) on the spot to lighten the mood.
659:
579:
561:
481:
434:
404:
301:
1591:"There is accomplishment in making feathers and clothes",《制羽服成有作》
619:
In another poem titled "凍解" (Thawing), written in the form of a
532:
458:
359:
1249:(in Literary Chinese). 海南国际新闻出版中心. p. 1651. Archived from
306:
Wu Qiuyan's "Explanations of Zhou-Qin Stone Carvings" (reprint)
595:
immortal Fugui Gong receiving Wang Zijin as a disciple from "
1678:
Summary of the Catalog of the Four Treasuries, compiled by
1143:(in Literary Chinese). 中国书籍出版社. p. 846. Archived from
490:
In contrast to the previous practice of following specific
997:(in Chinese (China)). 湖北教育出版社. p. 104. Archived from
842:(in Chinese). 上海書畫出版社. 1989. pp. 3：78. Archived from
812:(in Chinese (China)). 浙江美术学院出版社. p. 7. Archived from
1582:
Playing the Flute in the Cave of the Yang Temple,《楊寺洞中吹簫》
342:
era, where to ask and know? By the broken bridge, on the
1028:(in Chinese). 江西教育出版社. 1991. p. 350. Archived from
16:
Yuan dynasty epigraphist, scholar, and poet (1268–1311)
1724:
Includes the volume one, titled "Thirty-Five Entries".
542:
When comparing the imitations of Han Dynasty seals by
258:
town, Kaihua, and some sources state that he was from
350:
in Hangzhou, and his old friend Hu Changru wrote his
511:
Han Dynasty seals represent the pinnacle of Chinese
120:
112:
104:
88:
80:
47:
21:
887:(in Chinese). 书目文献出版社. p. 219. Archived from
378:, and when friends gathered, he often played the
1283:were both manifestations of their mutual pride."
465:development who lacked precedents to follow. As
148:《周代秦代刻石釋音》Interpretation of the Inscriptions on
130:《學古編》(Learning from the Ancients - Compilation)
1600:Biography of Wu Qiu Zixing, vol. 39, by Wangyi.
1764:Wu Qiuyan. Microprint Network Official Website
1760:book, Digitalization Project Official Website.
702:(in Chinese). 臺北: 秀威資訊科技股份有限公司. p. 149.
632:Annotated Bibliography of the Four Treasuries
8:
1301:Wang Qian's "Biography of Wu Qiuzi", vol. 16
1208:(in Chinese (China)). 山西教育出版社. p. 250.
1187:: CS1 maint: multiple names: authors list (
931:(in Chinese (China)). 山西教育出版社. p. 250.
1573:"Biography of Wu Yan", vol. 6, by Wangxing.
612:reflects Wu Qiuyan's deep sympathy for the
1446:"Shared Literature Catalog", see appendix.
770:(in Chinese (China)). 新華出版社. p. 229.
36:
18:
431:Learning from the Ancients - Compilation
424:Learning from the Ancients - Compilation
688:
569:Complete Library of the Four Treasuries
1180:
670:Stone Tablets), "晉文春秋" (Annals of the
1502:
1500:
1498:
1470:10.16246/j.cnki.51-1674/c.1998.05.017
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1354:
1168:
1166:
1164:
986:
984:
964:
962:
230:, he avoided using the given name of
7:
1317:(in Chinese (China)). Archived from
759:
757:
143:《农历十二月樂譜》Music of the Twelfth Month
14:
1704:(in Chinese). Nanchang: 江西美术出版社.
1262:劉伶一鍤事徒然，蝴蝶西飛別有天。欲語太元何處問，西泠西畔斷橋邊。
1177:(in Chinese). Shanghai: 上海辞书出版社.
696:蔡耀慶 (2007). 國立歷史博物館編輯委員會 (ed.).
486:Wu Qiuyan's seal engraving work.
136:《閒居錄》(Diary of a Leisurely Life)
1622:from the original on 2020-11-14
674:), and "尚書要略" (Summary of the
582:and his creative endeavors in
478:Art practice of seal engraving
214:, using the alternative names
1:
1368:吾丘衍《三十五举》"古"与"新"（中国艺术研究院硕士论文）
1101:(in Literary Chinese). 中华书局.
621:five-character regulated poem
457:methods... thus, the wind of
270:and excelled particularly in
1648:(in Chinese). Archived from
1552:(in Chinese). Archived from
1395:(in Chinese). Archived from
1389:"吾衍与其《学古编》之研究（中国美术学院博士学位论文）"
729:(in Chinese). Taipei: 真微书屋.
658:) and "十二月樂譜" (Music of the
222:, and with the scholar name
188:; 1268–1311), also known as
437:treatises on the theory of
366:Personality and aspirations
238:. He was a great master of
134:《印式》Seal style（two volumes）
92:Plain clothes Daoist (布衣道士)
1820:
1794:Yuan dynasty calligraphers
1173:钱仲联, 傅璇琮, 王运熙等总主编 (1997).
648:Hundred Schools of Thought
1640:總纂官：（臣）紀昀，（臣）陸錫熊，（臣）孫士毅.
185:
35:
28:
1365:张目达, 中國知網 (2020-11-14).
1063:: 江西美术出版社. p. 135.
698:
597:Biographies of Immortals
287:Wu Qiuyan was born with
58:Kaihua 開化 (Now known as
29:
1095:张哲俊 (2004). "吉川幸次郎研究".
158:《晉文春秋》The Chronicle of
1612:"《三十五举》之"十七举"的断句校勘与认识"
1338:《欽定四庫全書·竹素山房詩集》vol. 15
1059:(in Chinese (China)).
575:
487:
414:
401:Academic contributions
307:
1509:"吾丘衍《三十五举》对仿汉印章创作的启示"
1311:Wu Qiuyan. "竹素山房詩集".
642:Collections and works
565:
485:
408:
325:physical disabilities
305:
164:《尚书要略》Summary of the
1799:Chinese seal artists
1642:"《欽定四庫全書·竹素山房詩集·提要》"
391:alchemical practices
116:Founder of the seals
1804:Chinese epigraphers
1098:北京大学 20 世纪国际中国学研究文库
94:White Hermit (真白居士)
1789:Yuan dynasty poets
1784:People from Quzhou
1758:Chinese philosophy
1515:(in Chinese) (5).
1464:(in Chinese) (5).
1053:章用秀 (2007-12-01).
764:馬俊玲 (2016-01-01).
576:
523:, excelled in the
513:seal engraving art
488:
461:was seen again.'"
415:
387:Taoist cultivation
308:
1610:聂国强（湖北美术学院中国画系）.
1462:四川师范学院学报(哲学社会科学版)
1215:978-7-5440-2928-5
1108:978-7-101-04251-1
1070:978-7-80749-220-7
938:978-7-5440-2928-5
777:978-7-5166-2564-4
680:), among others.
672:Spring and Autumn
574:
548:small seal script
412:
298:Life of seclusion
175:
174:
141:《九歌》(Nine songs)
74:Zhejiang Province
1811:
1742:
1739:Commercial Press
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1246:傳世藏書: 史库. 四库全书总目
1240:
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1218:. Archived from
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558:Poetry and music
494:and theories of
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710:
700:
695:
694:
690:
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644:
573:《欽定四庫全書·竹素山房詩集》
560:
480:
447:clerical script
420:
403:
368:
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321:
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226:. In the early
163:
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1748:External links
1746:
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1618:(in Chinese).
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726:篆刻年历 1051-1911
715:
709:978-9860124118
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699:明代印學發展因素及表現之研究
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1458:"吾丘衍《三十五举》略论"
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409:Wu Qiuyan's '
407:
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221:
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194:courtesy name
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146:Commentaries：
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138:
127:
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107:
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98:竹房 (Zhufang)
96:貞白 (Zhenbai)
91:
87:
83:
79:
75:
71:
65:
61:
50:
46:
39:
34:
27:
20:
1729:
1720:
1701:
1700:章用秀 (2007).
1695:
1674:
1665:
1654:. Retrieved
1650:the original
1646:中國哲學書電子化計劃官網
1645:
1635:
1624:. Retrieved
1615:
1605:
1596:
1587:
1578:
1569:
1558:. Retrieved
1554:the original
1550:中國哲學書電子化計劃官網
1549:
1540:
1529:. Retrieved
1525:the original
1512:
1486:. Retrieved
1482:the original
1461:
1456:刘清扬 (1998).
1451:
1442:
1433:
1424:
1412:
1401:. Retrieved
1397:the original
1392:
1367:
1343:
1334:
1323:. Retrieved
1319:the original
1313:
1306:
1297:
1288:
1278:
1269:
1261:
1255:. Retrieved
1251:the original
1245:
1238:
1230:
1224:. Retrieved
1220:the original
1204:
1197:
1174:
1155:
1149:. Retrieved
1145:the original
1139:
1137:人物志 (2005).
1132:
1123:
1117:. Retrieved
1113:the original
1097:
1090:
1079:. Retrieved
1075:the original
1055:
1048:
1040:
1034:. Retrieved
1030:the original
1024:
1018:
1009:
1003:. Retrieved
999:the original
993:
991:李玉安 (1989).
974:
970:
953:
947:. Retrieved
943:the original
927:
920:
904:
893:. Retrieved
889:the original
883:
876:
859:
848:. Retrieved
844:the original
838:
832:
824:
818:. Retrieved
814:the original
808:
801:
792:
786:. Retrieved
782:the original
766:
745:. Retrieved
741:the original
725:
723:黄尝铭 (2001).
718:
691:
676:
652:
645:
630:"四庫全書總目提要" (
625:
618:
601:
577:
567:
552:
541:
529:seal scripts
510:
489:
467:Yuan Dynasty
463:
439:seal carving
430:
428:
423:
421:
384:
376:bamboo flute
373:
369:
356:
337:
334:
322:
309:
286:
272:seal carving
244:Yuan dynasty
235:
228:Qing dynasty
223:
219:
215:
211:
207:
203:
196:
189:
177:
176:
165:
122:Notable work
108:Yuan dynasty
1779:1311 deaths
1546:"吾丘衍《三十五舉》"
1507:王培 (2019).
1437:Yaoyan (姚晏)
1243:周仁 (1995).
1202:杨镰 (2005).
925:杨镰 (2005).
806:刘江 (1992).
544:Zhao Mengfu
521:calligraphy
517:Six Scripts
455:Han Dynasty
443:seal script
323:Due to his
242:during the
236:Mr. Zhenbai
216:Buyi Daoist
1773:Categories
1656:2020-05-04
1626:2020-05-02
1560:2020-05-01
1531:2020-05-01
1488:2020-05-01
1428:Guifu (桂馥)
1403:2020-05-01
1325:2020-05-04
1257:2020-05-04
1226:2020-05-03
1151:2020-05-04
1119:2020-05-04
1081:2020-05-04
1036:2020-05-04
1005:2020-05-04
949:2020-05-03
895:2020-05-03
850:2020-05-03
820:2020-05-03
788:2020-05-03
747:2020-05-01
736:9578971052
684:References
656:Nine Songs
589:Wang Zijin
536:chopsticks
289:congenital
162:Literature
100:竹素 (Zhusu)
1754:Wu Qiuyan
1735:Yang Shen
1521:1005-6009
1478:1005-1465
1183:cite book
505:Confucian
418:Epigraphy
348:West Lake
292:blindness
240:epigraphy
232:Confucius
178:Wu Qiuyan
128:Writings：
23:Wu Qiuyan
1680:Yongrong
1620:Archived
1061:Nanchang
914:Zhejiang
910:Hangzhou
869:Zhejiang
794:Zhenbai.
677:Shangshu
609:Zhejiang
525:clerical
492:concepts
469:scholar
380:dongxiao
319:Marriage
268:Qiantang
264:Zhejiang
201:art name
167:Shangshu
60:Zhejiang
1417:He Zhen
1205:元代文学编年史
1175:中国文学大辞典
994:中国藏书家辞典
928:元代文学编年史
865:Longyou
863:Now in
626:In the
605:Jiangsu
435:Chinese
360:mystery
352:epitaph
340:Taiyuan
331:Suicide
208:Zhufang
204:Zhenbai
182:Chinese
64:Longyou
42:Scholar
1708:
1702:名家印章趣谈
1690:. 1933
1519:
1476:
1212:
1140:浙江省志丛书
1105:
1067:
1056:名家印章趣谈
935:
774:
733:
706:
593:Taoist
584:poetry
471:Wei Su
451:Lu Xun
395:Zhu Su
313:Xu Yan
260:Quzhou
252:lyrics
248:poetry
197:Zixing
184::
139:Music：
70:Quzhou
52:Zixing
1684:Jiyun
1387:野田悟.
1025:文献学辞典
971:吾丘子行傳
636:rules
580:music
459:Er Ya
283:Birth
256:Huabu
212:Zhusu
190:Wuyan
1706:ISBN
1682:and
1616:中國知網
1517:ISSN
1513:江苏教育
1474:ISSN
1419:(何震)
1393:中國知網
1210:ISBN
1189:link
1103:ISBN
1065:ISBN
969:王禕.
933:ISBN
839:书法硏究
809:印人轶事
772:ISBN
767:草書探微
731:ISBN
704:ISBN
666:and
664:Zhou
607:and
533:jade
527:and
445:and
389:and
278:Life
250:and
218:and
210:and
152:and
150:Zhou
84:1311
81:Died
55:1268
48:Born
1466:doi
668:Qin
519:of
411:學古編
262:in
186:吾丘衍
160:Jin
154:Qin
105:Era
30:吾丘衍
1775::
1756:,
1737:.
1686:.
1644:.
1614:.
1548:.
1511:.
1497:^
1472:.
1460:.
1391:.
1377:^
1353:^
1314:新歲
1260:.
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1185:}}
1181:{{
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1122:.
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