Pu Ru, Manchu, formerly known as  Aisin Gioro Pu Ru, was the great-grandson of the Daoguang Emperor, the second grandson of Prince Gong Yi, the last emperor Pu Yi's cousin. Born in 1896, the Guangxu Emperor gave his name Ru, "Pu" for his generation, after the Republic of China to the last name. His first courtesy name was Zhongheng, but then he changed it to Xinyu.  He was known as Xishan Yishi (Hermit of West Mountain), Xi Huang Shang Ren (Live a comfort life), and Jiu Wang Sun (Former Emperor), and his room was called Han Yu Tang (Hall of Cold Jade). In 1949, he crossed the Taiwan Strait and was known as one of the three masters of the Strait, together with Zhang Daqian and Huang Junbi. In 1963, he passed away from an illness in Taipei.

Pu Ru was a bright and studious artist since his childhood and had lived in Beijing's West Mountain Jietai Temple for more than ten years, focusing on reading, painting and poetry, practicing calligraphy, and copying ancient paintings from Prince Gong's residence. Pu Ru's painting style was not inherited from any masters, but was mostly made by comprehending ancient calligraphy, drawing from famous paintings and poems from books and poems. His paintings are famous for landscapes, but he is also good at painting birds, flowers, grasses and insects, figures, ladies, bodhisattvas, gods and monsters as well as saddle horses and beasts. Landscapes are based on the "Northern Sect", mostly influenced by Ma Yuan and Xia Gui, with emphasis on line copying, strict structure, strong brushwork, and a clear and noble mood. Pu Ru and Zhang Daqian were known as South Zhang and North Pu, and with Wu Hufan, was known as South Wu and North Pu. Xie Zhiliu evaluated Pu Ru as the only one who had three masterpieces of poetry, calligraphy and painting after Wang Wei, Su Dongpo, Wen Zhengming and Zheng Banqiao.

Pu Ru has been teaching for more than thirty years, in addition to teaching students at home in the form of private lessons, he also taught at the National Beiping Art College, the National Hangzhou Art College and the Art Department of the National Taiwan Normal University. His idea of painting was manifested in his teaching practice, believing that painting should be based on calligraphy, and teaching students that they should spend more time and energy on learning, composing poems, and writing calligraphy. As for painting,  he advocated that students should see more masterpieces of the ancients, without the North and South Sect of the gateway.

The exhibition selected nearly one hundred pieces of Pu Ru’s work, divided into Scholarly Rhythm by Calligraphy, Paintings with Poem, and A Set of All Earthly Creatures of the three sections on display. The first section exhibits calligraphy works such as "Thousand Character Essay of Han Yu Tang (Hall of Cold Jade)", reflecting Pu Ru's profound calligraphy art and education. The second section focuses on the creation of landscapes, while the third section exhibits work of birds, flowers, figures, ladies, bodhisattvas, gods and monsters, saddle horses and beasts, etc., comprehensively reflecting Pu Ru's artistic achievements in poetry, calligraphy and painting. “Han Yu Tang (Hall of Cold Jade) Painting Theory" is an important work of Pu Ru's painting art, which has insightful opinions on painting landscapes, trees and rocks, smoke and red clouds, terrace scenery, people's costumes, birds and animals, etc. The exhibition also extracts the relevant exposition to echo the paintings and calligraphy works. The title of the exhibition is taken from the harmonization of Pu Ru's "Qiankun Yi Fu Ru (A Mundane Learner in Heaven and Earth)" seal, which is intended to pay tribute to Pu Xinyu, who was a master of both art and morality, as well as a master of talent and learning.