Wu Changshuo commented: "Weng was convinced of the falsehood all his life, but the study of seal printing in Qin and Han dynasties was extremely deep, so the knife method was round and round, without the spirit of fiber and man, and the weather was magnificent, but the quality was not stagnant. I tasted the speaker: if you finish learning white, don't take the path to let Weng. "
Wu xizai copied the seals of Qin and Han dynasties when he was young, then directly copied Deng Shiru, gained his essence, and integrated his own knowledge, developed and perfected the "Deng School" seal cutting, which played an important role in the seal cutting history of Ming and Qing schools. Wu Rangzhi's seal works can quite understand Deng Shiru's principle that "printing comes from books", and his knife is like a pen, turning rapidly and roundly, dripping with excitement, being straightforward and natural and unrestrained, combining rigidity with softness. Its body is vigorous, elegant and graceful, and it shows its elegant demeanor of euphemistic and fluent seal script. No matter whether Zhu Wen and Bai Wen are skilled in be adept at, they are skilled in technology. Let Weng create something on the basis of inheriting Deng Wanbai, especially the relaxed charm, which goes directly to the divine realm of book and seal. Wu Yong praised the old saying: "The charm of the ancient gentleman can't be measured, and the cover is guarded without mud, and it can be released without exceeding its moment." He was poor all his life, and he wrote "A Historical Interpretation of Tongjian Geography". Wu xizai's four-body work book. Deng Shiru studied seal script and official script, and Bao Shichen took running script and regular script. Although the calligraphy skill is deep, it is too bound by Deng Shiru and Bao Shichen to create its own style. Also good at painting. The greatest achievement in one's life is seal cutting, which has won the essence of Deng Shiru and can catch up with Chinese seal. In his later years, the knife was transported to a better state. At that time, when the last habits of Zhejiang School filled the printing altar, Deng School in Anhui School was pushed to a new realm, which had a great influence on the printing altar in the late Qing Dynasty. Wu Xizai carved tens of thousands of engravings in his life, but many of them did not engrave the border money, resulting in little circulation. Wu Rangzhi was born in the fourth year of Qing Jiaqing (1799), and lived in Yizheng in his early years. In his youth, he had to travel back and forth between Yizheng and Taizhou because he was engaged in scientific research. Wu Rangzhi was finally admitted as a "student (scholar)" and an ordinary "student" of county school, but from then on, he had more contacts and established friendship with the literati in Taizhou at that time.
after middle age, Wu Rangzhi lived in Yangzhou for a long time. According to Dong Yushu's "Records of Nostalgia in Wucheng" in Qing Dynasty, when Wu Rangzhi was in Yangzhou, he once lived in Guanyin Temple in Shipailou. At that time, Wang Su, a painter, was still living in Guanyin Temple, and "Wang painted Wu characters" was important at that time, and all the scholar-officials regarded it as "it is not suitable for non-Wang to paint Wu books". In the 29th year of Daoguang (1849), entrusted by Wang Xi 'an of Suqian, Wu Rangzhi continued to engrave the second half of "History of Inks" compiled by Gao Fenghan with jujube board. When the book was carved, he had a long postscript, in which he talked about "Yu Yu was the secretary of Wenhuige this year" and "Notes on the History of the South". Yangzhou Wenhui Pavilion is one of the seven pavilions that collected Sikuquanshu in Qing Dynasty. It was originally a useful place for Wu Rangzhi, but it was not long before. In the battle of Qing soldiers against the Taiping Heavenly Kingdom, Wenhui Pavilion was set on fire. ?