吾衍為中國書法史上篆書宗師之一，在元代與趙孟頫共倡「復古」之風，影響元人對印章美學之看法，亦奠定了「印宗秦漢」的篆刻美學基礎；尤其是吾衍之〈三十五舉〉著作，為印學之母，影響後世印學發展更為深遠。
吾衍弟子甚多，吳叡與朱珪可謂其中最有成就者。吳叡篆、隸書與朱珪之親手刻印，代表文人篆刻藝術於其時已蔚然成風。藉由此次研究，我們可以從吾衍師徒三代，側面看出元代篆刻史之發展與其對後世之影響。
Wu, Yen is one of the most important sphragists in history of Chinese calligraphy. He and Chao Meng-Fu advocated “retro style”, which highly influenced people’s perspectives for sigillography in Yuan dynasty, and also built up the foundation for “master of great sigillography in Qin and Han dynasty”. Especially Wu Yen’s ‘Thirty-five Adductions’ is the mother of sigillography; it also has significant impact on the development of sigillography afterworld.
Wu, Yen had lots of apprentices, and Wu, Rui and Zhu, Gui were the most successful ones. Wu, Rui’s Seal script and Clerical script and Zhu, Gui’s hand made sigillography represented that scholars establishing the art of sigillography had become a trend . Via this research, we can understand how the evolution of sigillography in Yuan affected afterworld from Wu, Yen and his apprentices three generation.
