This work transcribes a poem by the Song-dynasty poet Huang Geng. In the poem, shifting clouds, moving winds, changing light and shadow, and the alternating brightness and darkness brought by mountain rain evoke the constant transformation of the natural world. Motion and stillness give rise to one another, while the interplay of presence and emptiness reveals nature as a realm of endless change that nonetheless unfolds within its own inherent order.

PU Tzu considers that prior to the Tang dynasty, cursive script tended to emphasize rational structure and compositional discipline. During the Tang–Song transition, it gradually evolved toward a more expressive mode of emotional writing, while after the Ming dynasty it became increasingly
uninhibited and outwardly dynamic. This understanding of calligraphic history formed an important intellectual foundation for PU Tzu’s own creative orientation. It allows his cursive script to maintain a balance between structural rationality and lyrical movement, rather than collapsing into mere emotional release. Over many years he absorbed the legacy of classical calligraphy from different periods, transforming these influences and integrating diverse historical styles into his own artistic language. At the same time, his engagement with abstract painting deepened his sensitivity to spatial relationships and the rhythm of line. Through ongoing experimentation with spontaneous brushwork, he continually opened new possibilities for creative expression.

In this work, the distribution of space is both fresh and natural, and the composition unfolds with measured opening and closure. Rotational movements and bursts of energy alternate and propel the composition forward, generating a powerful visual rhythm. The calligraphy thus acquires a distinctly painterly quality and dynamic vitality. PU Tzu transforms natural phenomena into the revolving and advancing motion of cursive brushwork, allowing the lines to follow the flow of vital energy like wind surging through clouds. The rhythm alternates between slow and swift, so that the viewer seems almost to perceive wind, light, and thunder within the movement of the script itself, as if immersed within the scene.