{"id":13756,"date":"2026-11-09T01:41:00","date_gmt":"2026-11-09T01:41:00","guid":{"rendered":"https:\/\/www.chinaculturepro.com\/?p=13756"},"modified":"2026-11-12T14:17:56","modified_gmt":"2026-11-12T14:17:56","slug":"tang-du-mu-poem-to-zhang-haohao","status":"publish","type":"post","link":"https:\/\/www.chinaculturepro.com\/ja\/tang-du-mu-poem-to-zhang-haohao\/","title":{"rendered":"Tang Du Mu Poem To Zhang Haohao: Artwork, Context and a Viewing Guide"},"content":{"rendered":"\n<section class=\"tcjdi-quick-answer\"><h2>Quick Answer: What Is Poem to Zhang Haohao?<\/h2>\n<p class=\"p1\">Poem to Zhang Haohao\uff08\u5f20\u597d\u597d\u8bd7\uff0cZh\u0101ng H\u01ceoh\u01ceo sh\u012b\uff09is a paper handscroll by Du Mu\uff08\u675c\u7267\uff0cD\u00f9 M\u00f9\uff09, written for the singer Zhang Haohao\uff08\u5f20\u597d\u597d\uff0cZh\u0101ng H\u01ceoh\u01ceo\uff09. Preserved in Beijing\u2019s Palace Museum, it combines a prose preface and a long poem in running script\uff08\u884c\u4e66\uff0cx\u00edngsh\u016b\uff09.<sup>[1]<\/sup> <\/p>\n<ul>\n<li><strong>Text:<\/strong> A recollection of a performer\u2019s early success and a later reunion.<\/li>\n<li><strong>Writing:<\/strong> Vertical columns with varied character sizes and stroke weights.<\/li>\n<li><strong>Viewing focus:<\/strong> The relation between the remembered story, the handwritten text and later collection marks.<\/li>\n<\/ul>\n<p class=\"p1\">A poem\u2019s composition date and the date of a surviving handwritten copy are separate questions.<\/p><\/section>\n<figure class=\"tcjdi-infographic\" style=\"width:500px;max-width:100%;margin:24px auto;text-align:center\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.chinaculturepro.com\/wp-content\/uploads\/2026\/11\/Du-Mu-Zhang-Haohao-poem-guide-to-preface-memory-writing-and-later-versions.webp\" alt=\"Du Mu Zhang Haohao poem guide to preface memory writing and later versions\" title=\"Du Mu Zhang Haohao poem guide to preface memory writing and later versions\" width=\"1440\" height=\"2560\" style=\"width:500px;max-width:100%;height:auto;margin:0 auto\" \/><figcaption>Du Mu Zhang Haohao poem guide to preface memory writing and later versions<\/figcaption><\/figure>\n<p class=\"p1\">Dark characters descend in uneven columns, with red seals appearing beside and between the writing. The opening records circumstances before turning to verse. This <a href=\"https:\/\/www.chinaculturepro.com\/chinese-calligraphy\/\">Chinese calligraphy<\/a> guide reads the preface first, then follows the poem\u2019s changing scene and the brushwork visible in the manuscript\u2019s opening.<\/p>\n<h2>The Original Beijing Handscroll<\/h2>\n<p class=\"p1\">The Palace Museum records a paper scroll measuring 28.2 \u00d7 162 cm, collection number \u65b000044431. It is regarded as Du Mu\u2019s only surviving original ink work.<sup>[1]<\/sup> That rarity concerns handwriting, not the survival of his poetry in books.<\/p>\n<p class=\"p1\">An exhibition entry dates the poem and preface to 835 and places the manuscript\u2019s writing somewhat later.<sup>[2]<\/sup> The year 829 within the preface refers to an earlier episode in the story. Neither that opening date nor a date assigned to the poem should automatically become an exact date for the physical scroll.<\/p>\n<p class=\"p1\">The <a href=\"https:\/\/www.chinaculturepro.com\/chinese-scroll-painting-formats\/\">scroll-formats guide<\/a> helps place the object\u2019s long horizontal shape. Its text is read down each column, proceeding from the right toward the left. A reproduction of the opening shows only part of that progression; it should not be mistaken for the whole manuscript.<\/p>\n<h2>What the Preface Says About Zhang Haohao<\/h2>\n<p class=\"p1\">The preface begins with Du Mu\u2019s service in Jiangxi under Shen Chuanshi\uff08\u6c88\u4f20\u5e08\uff0cSh\u011bn Chu\u00e1nsh\u012b\uff09. Zhang Haohao was thirteen when her ability in singing and dancing brought her into the registered entertainment establishment. A subsequent move took her to Xuancheng. Later, Shen Shushi\uff08\u6c88\u8ff0\u5e08\uff0cSh\u011bn Sh\u00f9sh\u012b\uff09took her into his household. The final episode in the preface is Du\u2019s renewed encounter with her in eastern Luoyang.<sup>[1]<\/sup> <\/p>\n<p class=\"p1\">These are distinct stages and people. The two men named Shen should not be collapsed into a single patron, and the preface does not present Zhang as Du Mu\u2019s wife. Its stated reason for the poem is the sorrow stirred by meeting again and remembering the past.<\/p>\n<p class=\"p1\">The prose establishes the sequence before the poetry expands particular moments. Read it as the author\u2019s account of the encounter. It is not a complete independent record of Zhang\u2019s life, her private thoughts or everything that happened between the meetings.<\/p>\n<h2>From Performance to the Luoyang Reunion<\/h2>\n<p class=\"p1\">The poem begins by addressing Zhang as a young woman from Yuzhang. Images of a young phoenix and an opening lotus introduce her appearance before the scene widens to an elevated pavilion, river and banquet. The performance unfolds through hesitation, an introduction and the release of her voice.<sup>[1]<\/sup> <\/p>\n<p class=\"p1\">Sound becomes an important measure of her skill. Strings and pipes accompany her, yet her singing exceeds the other sounds in the poem\u2019s imagery. The host repeatedly praises her and gives gifts. This is a public scene: performer, patron, introducer and assembled guests occupy different positions within it.<\/p>\n<p class=\"p1\">The following passages shift to travel and a new household setting, with gifts, a carriage and the distant sound of water. That change of place separates the remembered performance from the later meeting.<\/p>\n<p class=\"p1\">In Luoyang, Zhang appears serving wine. Questions about prematurely white hair, old companions and difficult circumstances bring the past into the present. The scene no longer centres on applause or gifts. With declining willows, slanting sunlight and cool air, the ending turns toward tears and the act of writing.<sup>[1]<\/sup> <\/p>\n<p class=\"p1\">This movement gives the work its emotional shape. The youthful performance occupies the remembered past; the reunion makes the distance from it felt. The <a href=\"https:\/\/www.chinaculturepro.com\/tang-poetry\/\">Tang-poetry guide<\/a> offers a broader setting for reading such combinations of personal encounter, memory and public life.<\/p>\n<h2>Looking at the Opening Calligraphy<\/h2>\n<p class=\"p1\">At the right of the opening image, the work\u2019s heading precedes the prose. The first columns then move through the dated recollection. Compare the comparatively small introductory characters with larger forms elsewhere in the same visible passage. The writing does not maintain a uniform printed size.<\/p>\n<p class=\"p1\">Within the columns, some strokes gather into dark, compact forms; others extend more thinly or sweep outward. The spaces between characters also change. A broad stroke may approach the next column, while a narrower character leaves a more open interval beside it. These variations make the passage worth studying even before every character can be read.<\/p>\n<p class=\"p1\">Use the transcription alongside the image to locate the prose-to-poem transition. The <a href=\"https:\/\/www.chinaculturepro.com\/how-to-read-chinese-calligraphy\/\">calligraphy-reading guide<\/a> can help separate the work of following the words from comparing their visual forms. The image establishes visible differences in ink and spacing; those differences do not by themselves reveal the writer\u2019s exact speed or emotional state.<\/p>\n<h2>The Collected Scroll and Later Versions<\/h2>\n<p class=\"p1\">The scroll includes a title associated with Emperor Huizong\uff08\u5b8b\u5fbd\u5b97\uff0cS\u00f2ng Hu\u012bz\u014dng\uff09and numerous later collection seals. It subsequently belonged to Zhang Boju\uff08\u5f20\u4f2f\u9a79\uff0cZh\u0101ng B\u00f3j\u016b\uff09, who donated it to the government in 1956.<sup>[1]<\/sup> These later interventions belong to the object\u2019s transmission, not to the original scene described in the poem.<\/p>\n<p class=\"p1\">There are also engraved modelbook versions. A Taipei example appears in the Modelbooks of the Studio of Wonderful Ink\uff08\u58a8\u5999\u8f69\u6cd5\u5e16\uff0cM\u00f2mi\u00e0oxu\u0101n f\u01ceti\u00e8\uff09.<sup>[3]<\/sup> A modelbook can preserve a version of the text and calligraphic forms while remaining a different object from the Beijing ink manuscript. Check that distinction before transferring a reproduction\u2019s catalog information to the original scroll.<\/p>\n<h2>FAQs About Poem to Zhang Haohao<\/h2>\n<h3>Is this a poem written by Zhang Haohao?<\/h3>\n<p class=\"p1\">No. Du Mu wrote it for her.<sup>[1]<\/sup> <\/p>\n<h3>Is it Du Mu\u2019s only surviving poem?<\/h3>\n<p class=\"p1\">No. Its exceptional status concerns his surviving original handwriting.<sup>[1]<\/sup> <\/p>\n<h3>Are later modelbook versions the original manuscript?<\/h3>\n<p class=\"p1\">No. Engraved modelbooks are separate objects.<sup>[3]<\/sup> <\/p>\n<h2>Sources<\/h2>\n<p class=\"p1\">[1] Xiao Yanyi, Palace Museum, Beijing. <a href=\"https:\/\/www.dpm.org.cn\/collection\/handwriting\/234562.html\" target=\"_blank\" rel=\"noopener noreferrer\">Du Mu: Poem to Zhang Haohao, Collection Entry, Preface and Poem<\/a><\/p>\n<p class=\"p1\">[2] Shanghai Museum. <a href=\"https:\/\/www.shanghaimuseum.net\/mu\/frontend\/pg\/article\/id\/P00002762\" target=\"_blank\" rel=\"noopener noreferrer\">Du Mu: Poem to Zhang Haohao, Exhibition Entry<\/a><\/p>\n<p class=\"p1\">[3] National Palace Museum. <a href=\"https:\/\/digitalarchive.npm.gov.tw\/Collection\/Detail\/16903?dep=P\" target=\"_blank\" rel=\"noopener noreferrer\">Imperial Engraved Modelbooks of the Studio of Wonderful Ink, Volume Two: Zhang Haohao\u2019s Poem and Preface<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Read Du Mu\u2019s Poem to Zhang Haohao through its preface, remembered performances and Luoyang reunion, with a guide to the manuscript and its collection history.<\/p>","protected":false},"author":1,"featured_media":13757,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[389],"tags":[401,402,391],"class_list":["post-13756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-crafts","tag-chinese-calligraphy","tag-hub-chinese-calligraphy","tag-material-culture"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO Pro 5.0.3 - aioseo.com -->\n\t<meta name=\"description\" content=\"Read Du Mu\u2019s Poem to Zhang Haohao through its preface, remembered performances and Luoyang reunion, with a guide to the manuscript and its collection history.\" \/>\n\t<meta name=\"robots\" content=\"noindex, max-image-preview:large\" \/>\n\t<meta name=\"author\" content=\"Anthony\"\/>\n\t<meta name=\"yandex-verification\" content=\"a48113a626715129\" \/>\n\t<link rel=\"canonical\" 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