This work is an original poem by PU Tzu. At the age of forty, PU Tzu returned from Taipei to his hometown, Tainan, where he named his studio The Old Mango Tree House. This poem depicts the roses in the courtyard of The Old Mango Tree House, which, despite enduring the battering of wind and rain overnight, still bloom the following morning. This sentiment mirrors the companionship of drifting clouds in the mundane world, offering a sense of warmth and solace.
Since ancient times, poetry has been regarded as a hallmark of literati talent. Throughout history, many artists have identified themselves as poets first, before calligraphers and painters. The sequence of poetry, calligraphy, and painting when considered together also implies a hierarchy in their respective artistic value. In addition to extensively studying poetic inscriptions by historical calligraphers and painters, PU Tzu studied modern poetry under the poet Zhou Zhifu, further enriching the depth of his later works. Meanwhile, the nature of cursive script—neither entirely realistic nor figurative, yet not fully abstract—complements the expressive qualities of the modern poetry he creates. PU Tzu’s poetry is characterized by simplicity and freshness, free from ornate or obscure language. His artistic approach aligns with the "wild and unrestrained" aesthetic often praised in art history.
This piece showcases PU Tzu’s unique sense of rhythm and movement in cursive script. Among all calligraphic styles, cursive script offers the greatest potential for conveying an artist’s personal spirit. In his later years, PU Tzu’s wild cursive evolved to be more painting-oriented, which is reflected in this work: the swirling, curving strokes resemble layers of unfolding petals, while the fluid and moist brushwork echoes the poem’s tender imagery. Through eloquent brushwork, the vitality of nature gracefully unfolds on paper.