This paper undertakes to reveal the role of salt merchants on the cultural map of literati during eighteenth century Jiangnan(江南) and to interpret the historical meaning through the publication of printing seal books by a salt merchant named Wang Qi-shu(汪啓淑). Wang was an outstanding book collector as well as a famous contributor who recorded his name high up on the list of donors of biggest numbers of books at the time when Emperor Qianlong(乾隆帝) built up Sikuquanshu(四庫全書). The overall feature of Wang’s publication indicates a few points. First of all, the publication of Wang’s printing seal book series shows a shape of inheritance and integration of previous publication. However, it concurrently demonstrates a continuous experiment including new classification of seals under a more advanced standard and experimental selective publishing of small seals. Most significant point of Wang’s seal books publication is its remarkable longevity and continuity as long as forty five years. In particular, Wang’s private workshop named ‘Feihongtang(飛鴻堂)’ absorbed talented inscribers from his home town Huizhou(徽州) Shexian (翕縣) and Hangzhou(杭州) proving them a very stable and long term environment of friendly cooperation, which supplied the necessary energy for his continuously experimental publication. The long chain of working would not be achievable without the huge wealth of salt merchant. It was either the result of highly developed esthetic taste of Hui merchants(徽商) pursuing new style. For Wang, it was an extended course of finding and verifying his own identity as a developed human being. He was an under of obsession for seals and a connoisseur equipped with refined connoisseurship, and he dedicated himself, as a publisher and a supporter for the inscribers, to the entire process of editing, publishing and promoting of printing seal books as well. In results, Wang enlarged the territory of literati culture through the elaborate enlisting of seals and contributed to the shaping and spreading of new inscription styles widely accepted as Zhe(浙) school. In terms of artistic and cultural directive, it has been divergent with the apparent exclusive inclination of Jiangnan(江南) literati nudging out merchants from infiltrating into their cultural territory by giving priority to elegance of attitude than to the artistic object itself.