The Classic of Filial Piety (Xiaojing) elaborates on Confucian principles and has been highly esteemed by generations of rulers and scholars. Not only did it become one of the Thirteen Classics, but it was also an assigned subject in the imperial examination. Throughout its transmission, The Classic of Filial Piety has intertwined with Buddhist and Daoist traditions. In folk culture, it has even been regarded as possessing spiritual power capable of communicating with deities, making it a text used for prayers, exorcisms, and healing purposes. As the guiding principle of the ancient patriarchal system, it was also widely featured in calligraphy and painting. Renowned calligraphers such as Sun Guoting, Li Gonglin, Zhao Mengfu, Guan Daosheng, Wen Zhengming, and Dong Qichang have all left behind notable works inspired by this text.
The Classic of Filial Piety consists of eighteen chapters, and this particular work by PU Tzu features the thirteenth chapter. Written in 1996, the entire text is rendered in Tang dynasty standard script, following the styles of Ouyang Xun and Liu Gongquan. The brushwork is refined, upright, and exudes an austere elegance. A decade after its completion, PU Tzu added annotations in small cursive script along the margins, documenting the creative intent behind the piece and expressing his desire for transformation. Although he faithfully followed the styles of Ouyang Xun and Liu Gongquan, he never took the ancients as his ultimate goal but instead maintained a persistent awareness of innovation.
From an early age, PU Tzu displayed a talent for calligraphy and diligently honed his skills. At twenty-five, he won an award for his standard script work in a calligraphy competition. His approach to calligraphy aligns with the philosophy of great masters who understood the principle: "No one who fails in standard script can excel in cursive script" and "Only by strictly adhering to rules can one truly transcend them." Thus, PU Tzu has always upheld rigorous discipline in his practice, maintaining a daily regimen of calligraphy. Deeply committed to self-cultivation, he regularly engages in meditation, scripture copying, and introspective study. His works, such as The Amitabha Sutra, The Diamond Sutra, and The Dao De Jing, exhibit the refined structure characteristic of Tang dynasty calligraphy. These pieces have garnered acclaim, standing alongside his wild cursive signature works.
This work represents not only a continuation of cultural tradition but also embodies two distinct temporal axes, akin to the growth rings of a tree. It traces PU Tzu’s artistic journey—not one that abruptly arrived at a deconstructive contemporary cursive style, but rather a gradual accumulation of rigorous training in both technique and knowledge. It is precisely this capacity for constant self-reflection that has allowed PU Tzu to continually soar amidst the rapid currents of an ever-changing era.