Wang Qishu, a prominent Huizhou merchant and seal collector during the Qianlong to Jiaqing Period of the Qing Dynasty, and was obsessed with the publishing of seal prints. He published dozens of seal prints in his life, among which the most influential seal prints was “Feihongtang Yinpu”, which included the most seals in the history of Chinese printing. authored “Feihongtang Yinpu” (Catalog of Feihongtang Seals) and “Feihongtang Yinren Zhuan” (Biographies of Seal Artists of Feihongtang). “Feihongtang Yinren Zhuan” is derived from “Feihongtang Yinpu”, and there is academic debate regarding its compilation time, method, and relationship with “Feihongtang Yinpu”. As the first printing book in the history of Chinese printing, the biography of the seal has attracted great attention to the academic circle at present.This study confirms its compilation in the fifty-fourth year of the Qianlong era (1789) containing 126 biographies of seal artists and encompassing 129 individuals, by comparing different versions of “Feihongtang Yinren Zhuan” housed in the National Library of China. Compilation methods identified include commissioned contributions, third-party inquiries, and personal collection efforts. The discrepancy in the number of seal artists recorded compared to “Feihongtang Yinpu” primarily stems from Wang Qishu’s casual approach to compiling, resulting in omissions in the third volume of the seal catalog.

Jing Hao, a famous theorist and painter in the late Tang and five dynasties, put forward the concept of “truth” in his Bi Fa Ji (筆法記, Notes On the Techniques of the Brush). “Truth” originated from Laozi and was developed by Zhuangzi and others. Although “truth” is an important category in Chinese aesthetics, the aesthetic connotation was not explained until the Tang Dynasty, and it was not explained and defined theoretically until Jing Hao’s Bi Fa Ji in the Five Dynasties, and “truth” was also clearly put forward in painting theory for the first time. “truth” is the artistic ideal pursued by Jing Hao, and the practice of “truth” is also confirmed everywhere in his works “Kuanglu Tu”. So what is the “truth” proposed by Jing Hao? How does his “truth” translate into his paintings? Is there a specific way or method for him to realize his “true” artistic ideal? This article mainly analyzes Jing Hao’s “truth” from the perspective of the Taoist “the unity of nature and man”(天人合一), and combines the stones, trees, and point characters in the Kuanglu Tu to analyze it specifically. Jing Hao’s “truth” is more about pursuing the realm of mutual birth between the heaven and earth spirit of man and nature, and the life of the universe. The main purpose of this article is to implement this mysterious concept and mysterious metaphysical category into concrete and perceptible painting patterns, so as to appreciate that the way to realize Jing Hao’s “truth” is “the unity of nature and man”.