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Past, Present, and Beyond: The Development of Yu Yu-jen's Calligraphy

The development of Yu Yu-jen's calligraphy can be divided into roughly three stages: modelbook studies, stele studies, and cursive script. However, relatively few of Yu's works from the modelbook phase survive. His stele studies began around the age of thirty, and the focus on cursive script started around his mid-fifties. In fact, many of the works by Yu in the National Palace Museum collection are from after the age of fifty, thereby encompassing the two major styles for which he is best known--stele and cursive.

The influence of regular forms in Wei dynasty steles is evident everywhere in Yu Yu-jen's stele script. It is notable for characters often with a large head and small body but with dots and strokes that do not descend into the conventionality of overemphasizing the carved and diffused effect of stele calligraphy. Rather, Yu replaced these features with natural and dynamic brushwork, the lines he brushed being rounded with a mellow strength that imbues the frequent stiffness of stele script with new vitality.

When Yu Yu-jen devoted his time and effort to organizing and practicing standardized cursive script, some of the forms in his stele characters also weakened, the lines coming to the forefront of attention. And in between his lines appear an unexpected layering and rich variation, which both require careful observation and feeling on the part of the viewer to comprehend the marvels and extraordinary achievements of Yu Yu-jen's calligraphy.

Yu Yu-jen (1879-1964), Republican period

Album of Calligraphy

The first twenty-two leaves in this album include Yu Yu-jen's transcription of "Song on My Recollections of the Second World War," consisting of more than 1,800 characters and written on the "morning of December 10." On October 15 of 1947, Yu was extremely anxious about the escalation of civil war between Nationalist and Communist forces and was unable to sleep. Leaning on his pillow, he started writing this poem and finished it on the evening Nanjing-Shanghai train on December 4, expressing a desire for peace.
After the poetry is "Letter to Longji," written on September 17 of 1948. Finally, there is a repeat of a section from "Song on My Recollections of the Second World War." All together, the work has about 2,500 characters. Each stroke is precise and penetrating, and there is not a single turn or stop of the brush that does not conform to the rules of calligraphy. Each place reveals Yu Yu-jen's solid training and effort, the character forms beautiful and varied. It shows the essence of cursive script through the ages and is a model of small cursive script for later generations.

Yu Yu-jen (1879-1964), Republican period

Five-Character Couplet in Cursive Script

Judging from the style of the calligraphy and the signature, Yu Yu-jen did this work probably after the age of seventy, around the first half of the 1950s. The two lines in the couplet come from "The First (Brush) Stroke of the New Year in the 'Wuxu' Year" by Qiu Fengjia (1864-1912) in 1898, the contents expressing hope for the reforms enacted by the Guangxu emperor (1871-1908).
This couplet, transferred from the Presidential Office to the National Palace Museum, was originally hung in the Chieh Shou Hall of the Presidential Office Building. Not addressed to a particular recipient, the characters are steady and even, the lines fluid but with variation to the pressing of the brush. A rounded steadiness is maintained throughout, the strokes often with spreading ink to add weight and differentiation to the calligraphy.

Yu Yu-jen (1879-1964), Republican period

"Song on Righteousness" in Four Panels

Yu Yu-jen in the four hanging scrolls of this set transcribes the contents from "Song on Righteousness" by the patriotic Southern Song scholar-general Wen Tianxiang (1236-1283). This set, written in May of 1964, is a large work by Yu from shortly before his death. Over the course of his life, Yu transcribed this work no less than ten times, repeating it in the different calligraphic styles he practiced over the years.
Though this work retains the forms of standardized cursive, the characters exhibit considerable variety, making for a fascinating and interesting viewing experience. The lines are also strong and heavy, at times revealing "flying white" strokes and astringent brushwork. The ink tones range in effect from solid to void for an overall force consistent throughout, making the work appear totally natural.