This piece is an original poem by PU Tzu. He was adept at reassembling phrases from different sources, making subtle alterations of wording to open up new layers of meaning. This work integrates poetic classical implications and Buddhist and Daoist philosophy.
The opening lines are drawn from Huang Yue’s Twenty-Four Discourses on Painting of the Qing dynasty. PU Tzu, however, did not copy the text but transformed it into his own poem, expressing an idea of “individuality,” which implies that the creator must not only think independently but also command a cultivated mastery of brush and ink to convey those thoughts, ultimately forming a distinct personal style. This idea succinctly encapsulates the artistic ideal that PU Tzu consistently pursued.

After transcribing the verse of painting, PU Tzu continued with the lines that invokes the Buddhist teaching of impermanence and vigilance, though not taken from a specific scripture. It nevertheless carries the spirit of diligence and self-discipline, reflecting PU Tzu’s reverence and devotion toward the art of calligraphy.

This work is not a simple transcription of ancient texts but a fusion of artistic theory and Buddhist philosophy: first, PU Tzu’s articulation of his creative ideals, and second, his attitude toward their practice. In his later period, PU Tzu’s large-scale wild cursive became renowned for its deconstruction and liberation of characters, with a heightened sense of painterly expression. At first glance, viewers are struck by its unrestrained momentum; on closer reading, they would discover the refined nature of literati culture. Within PU Tzu’s artistic trajectory, this work carries a tone of self-declaration and stands as a representative masterpiece.