[3] He was a great master of epigraphy during the Yuan dynasty, proficient in poetry and lyrics, well-versed in music theory, and with a rich collection.

Wu Qiuyan's disciples held a memorial service for him by the West Lake in Hangzhou, and his old friend Hu Changru[19] wrote his epitaph.

[16] 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.

[22] 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',[23] 'The path, not played like a zither, and when the road ends, why bend one's waist?'

[24] Wu Qiuyan was renowned for his high moral standards, a free-spirited disposition, and a conversational style rich in humor.

[10] In his poem 'Sending Someone into Seclusion,' Wu Qiuyan depicted scenes of Taoist cultivation and alchemical practices: 'Guo Taixian dreams of distant gold; exceptional talents eventually disappear.

He authored works such as 'Learning from the Ancients - Compilation', '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).

These rules provided a foundation for those in the early stages of seal carving art development who lacked precedents to follow.

As Yuan Dynasty scholar Wei Su remarked: 'The publication of this compilation can wash away the common bad habits.

This methodology reflects the Confucian perspective of "fulfillment as beauty," which is a prevalent aesthetic feature of Han Dynasty seals.

[26][33] In ancient texts, Wu Qiuyan is described as follows: "On moonlit nights, he would hold his bamboo flute, ride on the rooftop, and play.

[27][38][39] 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.

[40] One of his poems, titled "丁未歲哀越民," vividly depicts the famine in Jiangsu and Zhejiang 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.

[41] In the Qing Dynasty's "四庫全書總目提要" (Annotated Bibliography of the Four Treasuries), the evaluation of Wu Qiuyan's poetry is as follows: "His poetry does not adhere strictly to rules, but his free spirit flows with freshness, cleansing away the dust and dirt of the mundane world, revealing a unique and untamed quality".

[42] Wu Qiuyan was a highly learned scholar with a deep appreciation for ancient texts and the Hundred Schools of Thought.

He was well-versed in various fields, including classics, history, philosophy, and literature, and had a collection of books that reflected his broad knowledge.

[43] Wu Qiuyan authored several notable works, including "學古編" (A Compilation of Ancient Learning),[44] "印式" (Seal style, in two volumes), and "閒居錄" (Diary of a Leisurely Life).

Furthermore, he engaged in commentaries and annotations, including "周秦刻石釋音" (Interpretation of the Inscriptions on Zhou and Qin Stone Tablets), "晉文春秋" (Annals of the Spring and Autumn), and "尚書要略" (Summary of the Shangshu), among others.