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    Graced by Nature: A Special Exhibition of Yu Yu-jen's Calligraphy_2

    • Dates: 2017/06/01~2017/08/27
    • Gallery: Exhibition Area I 105,107
    CC BY 4.0

    Exhibit

    Yu Yu-jen (1879-1964) was a native of Sanyuan in Shaanxi whose ancestors came from Jingyang. Originally named Boxun, he also later used the name Yu-jen, by which he became known, and the late sobriquet Taiping laoren. He was an important calligrapher and political figure of modern times. In his early years, Yu Yu-jen was inspired by a private school teacher to focus on traditional Modelbook Studies calligraphy. Yu was also a reformist, who, after the fall of the Qing dynasty in 1911, later served the Republic as Shaanxi Commander of National Forces. While there, he had the opportunity to study many steles, becoming enamored with the Northern Stele manner of calligraphy that formed the basis of his own unique style of stele script. In doing so, Yu did not deliberately seek powerful sharpness to the lines in his stele script, but neither did he intentionally create exaggerated character forms. Instead, his manner naturally evolved into a broad and archaic manner with a majestic atmosphere that paved the way to break the trend towards rigidity seen in Stele Studies of the late Qing and early Republican period.

    Then, in 1931, Yu Yu-jen established the Cursive Script Society in Shanghai, embarking on the study and organization of Chinese cursive script through the ages. He strived at practicing and promoting standardized cursive script in the hope of saving people’s time and effort in writing while enhancing national competitiveness, demonstrating a traditional Confucian ideal of putting art to practical use. This monumental shift from stele to standardized cursive script not only echoed Yu Yu-jen's earlier bold initiative in joining the revolution to overthrow the Qing, it also gave cursive script new meaning and direction in modern times. In terms of calligraphy, Yu advocated the following: "By no means innovate merely to create something that looks beautiful but actually goes against Nature." This, in fact, is a perfect expression of his own cursive script. Be it the strokes, lines, and structures of individual characters or the overall line spacing and arrangement, all appear organized just right to reach an ultimate in calligraphy that accords with Nature.

    This special exhibition features a wide assortment of calligraphy by Yu Yu-jen donated to or purchased by the National Palace Museum. It also includes many works that he did prior to arriving in Taiwan, providing a full assessment of his accomplishments in both stele and cursive scripts. Befriending a wide variety of people throughout his life, the recipients of Yu’s calligraphy were many. Never ceasing to pick up the brush, he thus left behind a large number of works. This exhibition is arranged mainly based on the development of his calligraphy and divided into different sections to highlight certain aspects of his art, such as reciprocating with friends, daily exercises, and family heirlooms of calligraphy. Together, they present Yu Yu-jen from various perspectives, such as social networking, material culture, and stylistic development, offering a new understanding to the cultural import and calligraphic attainment of this modern master. 

    Exhibition Package Content

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    Graced by Nature: A Special Exhibition of Yu Yu-jen's Calligraphy_1

    • Dates: 2017/06/01~2017/08/27
    • Gallery: Exhibition Area I 105,107
    CC BY 4.0

    Exhibit

     Yu Yu-jen (1879-1964) was a native of Sanyuan in Shaanxi whose ancestors came from Jingyang. Originally named Boxun, he also later used the name Yu-jen, by which he became known, and the late sobriquet Taiping laoren. He was an important calligrapher and political figure of modern times. In his early years, Yu Yu-jen was inspired by a private school teacher to focus on traditional Modelbook Studies calligraphy. Yu was also a reformist, who, after the fall of the Qing dynasty in 1911, later served the Republic as Shaanxi Commander of National Forces. While there, he had the opportunity to study many steles, becoming enamored with the Northern Stele manner of calligraphy that formed the basis of his own unique style of stele script. In doing so, Yu did not deliberately seek powerful sharpness to the lines in his stele script, but neither did he intentionally create exaggerated character forms. Instead, his manner naturally evolved into a broad and archaic manner with a majestic atmosphere that paved the way to break the trend towards rigidity seen in Stele Studies of the late Qing and early Republican period.

    Then, in 1931, Yu Yu-jen established the Cursive Script Society in Shanghai, embarking on the study and organization of Chinese cursive script through the ages. He strived at practicing and promoting standardized cursive script in the hope of saving people’s time and effort in writing while enhancing national competitiveness, demonstrating a traditional Confucian ideal of putting art to practical use. This monumental shift from stele to standardized cursive script not only echoed Yu Yu-jen's earlier bold initiative in joining the revolution to overthrow the Qing, it also gave cursive script new meaning and direction in modern times. In terms of calligraphy, Yu advocated the following: "By no means innovate merely to create something that looks beautiful but actually goes against Nature." This, in fact, is a perfect expression of his own cursive script. Be it the strokes, lines, and structures of individual characters or the overall line spacing and arrangement, all appear organized just right to reach an ultimate in calligraphy that accords with Nature.

    This special exhibition features a wide assortment of calligraphy by Yu Yu-jen donated to or purchased by the National Palace Museum. It also includes many works that he did prior to arriving in Taiwan, providing a full assessment of his accomplishments in both stele and cursive scripts. Befriending a wide variety of people throughout his life, the recipients of Yu’s calligraphy were many. Never ceasing to pick up the brush, he thus left behind a large number of works. This exhibition is arranged mainly based on the development of his calligraphy and divided into different sections to highlight certain aspects of his art, such as reciprocating with friends, daily exercises, and family heirlooms of calligraphy. Together, they present Yu Yu-jen from various perspectives, such as social networking, material culture, and stylistic development, offering a new understanding to the cultural import and calligraphic attainment of this modern master.

    Exhibition Package Content

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    The Ancient Art of Writing: Selections from the History of Chinese Calligraphy

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 204,206
    CC BY 4.0

    Exhibit

    To meet the need for recording information and ideas, unique forms of calligraphy (the art of writing) have been part of the Chinese cultural tradition through the ages. Naturally finding applications in daily life, calligraphy still serves as a continuous link between the past and the present. The development of calligraphy, long a subject of interest in Chinese culture, is the theme of this exhibit, which presents to the public selections from the National Palace Museum collection arranged in chronological order for a general overview. 

    Exhibition Package Content

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    Traveling with Art: Painting and Calligraphy Accompanying the Qianlong Emperor's Southern Tours_4

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 208,210,212
    CC BY 4.0

    Exhibit

     The Qianlong emperor, who sat on the throne of China from 1735 to 1796, was not a ruler who amassed a huge collection of painting and calligraphy merely for the sake of ownership, but someone who relished the appreciation of artworks and extolled their virtues, also placing much emphasis on searching for them. This exhibition takes a look at the observations he made during six inspection tours of the south between 1751 and 1784. From the voluminous poetry written by Qianlong in praise of painting and calligraphy, we can identify some of the artworks that accompanied his trips, offering a better understanding of and new perspective on his connoisseurial activities. Based on the contents of his inscriptions and the time they were written, it appears that Qianlong often enjoyed displaying artworks on or related to the places he visited on his tours. Some of his favorite works even became essential travel companions, which he took out to sing their praise time and again.

    Exhibition Package Content

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    Traveling with Art: Painting and Calligraphy Accompanying the Qianlong Emperor's Southern Tours_3

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 208,210,212
    CC BY 4.0

    Exhibit

    The Qianlong emperor, who sat on the throne of China from 1735 to 1796, was not a ruler who amassed a huge collection of painting and calligraphy merely for the sake of ownership, but someone who relished the appreciation of artworks and extolled their virtues, also placing much emphasis on searching for them. This exhibition takes a look at the observations he made during six inspection tours of the south between 1751 and 1784. From the voluminous poetry written by Qianlong in praise of painting and calligraphy, we can identify some of the artworks that accompanied his trips, offering a better understanding of and new perspective on his connoisseurial activities. Based on the contents of his inscriptions and the time they were written, it appears that Qianlong often enjoyed displaying artworks on or related to the places he visited on his tours. Some of his favorite works even became essential travel companions, which he took out to sing their praise time and again. 

    Exhibition Package Content

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    Traveling with Art: Painting and Calligraphy Accompanying the Qianlong Emperor's Southern Tours_2

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 208,210,212
    CC BY 4.0

    Exhibit

    The Qianlong emperor, who sat on the throne of China from 1735 to 1796, was not a ruler who amassed a huge collection of painting and calligraphy merely for the sake of ownership, but someone who relished the appreciation of artworks and extolled their virtues, also placing much emphasis on searching for them. This exhibition takes a look at the observations he made during six inspection tours of the south between 1751 and 1784. From the voluminous poetry written by Qianlong in praise of painting and calligraphy, we can identify some of the artworks that accompanied his trips, offering a better understanding of and new perspective on his connoisseurial activities. Based on the contents of his inscriptions and the time they were written, it appears that Qianlong often enjoyed displaying artworks on or related to the places he visited on his tours. Some of his favorite works even became essential travel companions, which he took out to sing their praise time and again. 

    Exhibition Package Content

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    Traveling with Art: Painting and Calligraphy Accompanying the Qianlong Emperor's Southern Tours_1

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 208,210,212
    CC BY 4.0

    Exhibit

    The Qianlong emperor, who sat on the throne of China from 1735 to 1796, was not a ruler who amassed a huge collection of painting and calligraphy merely for the sake of ownership, but someone who relished the appreciation of artworks and extolled their virtues, also placing much emphasis on searching for them. This exhibition takes a look at the observations he made during six inspection tours of the south between 1751 and 1784. From the voluminous poetry written by Qianlong in praise of painting and calligraphy, we can identify some of the artworks that accompanied his trips, offering a better understanding of and new perspective on his connoisseurial activities. Based on the contents of his inscriptions and the time they were written, it appears that Qianlong often enjoyed displaying artworks on or related to the places he visited on his tours. Some of his favorite works even became essential travel companions, which he took out to sing their praise time and again. 

    Exhibition Package Content

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    Oversized Hanging Scrolls and Handscrolls

    • Dates: 2017/04/01~2017/06/25
    • Gallery: Exhibition Area I 202,208
    CC BY 4.0

    Exhibition Package Content

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    Splendid Accessories of Nomadic Peoples: Mongolian, Muslim, and Tibetan Artifacts of the Qing Dynasty from the Museum Collection_2

    • Dates: 2017/03/31~2018/08/20
    • Gallery: Exhibition Area I 303
    CC BY 4.0

    Exhibit

    The Mongolian, Tibetan, and western Muslim territories of China are located in the central part of the Eurasian continent and geographically consist mostly of plateaus and basins. With its northern latitude and high terrain, the cold climate of the area yields unpredictable rainfall. Except for settlements along river valleys and oases, a nomadic economy has traditionally governed the way of life there. The inhabitants of this region are ethnically diverse as well, being mostly comprised of Mongolian, Uyghur, and Tibetan peoples. In terms of geography, religion, and history, their lifestyle therefore differs greatly from that of the Han Chinese with their agriculture-based economy, highlighting the unique art and culture of these nomadic groups.

    Starting from the seventeenth century, the Manchu people in China's northeast expanded their territorial control west and south to establish the "Great Qing Empire." As dynastic rulers, the Manchu never gave up their ambition of playing a dominating role among tribes on the northern steppes, at the same time actively maintaining control of Tibetan peoples in the Kham-Tibetan plateau of the southwest. In addition to military conquest and political rule, the Qing dynasty also used marital alliances, religious beliefs, and tributary relations to extend and maintain its governance, hold various peoples together, and consolidate its authority.

    This special exhibition focuses on artifacts related to imperial authority of the Qing dynasty and its interaction with Mongolian, Muslim, and Tibetan peoples. From the perspectives of material culture and anthropology, it explains the features of these groups and, at the same time, the unique characteristics and cultural contents of their art forms.

    The Mongolian, Tibetan, and western Muslim territories of China are located in the central part of the Eurasian continent and geographically consist mostly of plateaus and basins. With its northern latitude and high terrain, the cold climate of the area yields unpredictable rainfall. Except for settlements along river valleys and oases, a nomadic economy has traditionally governed the way of life there. The inhabitants of this region are ethnically diverse as well, being mostly comprised of Mongolian, Uyghur, and Tibetan peoples. In terms of geography, religion, and history, their lifestyle therefore differs greatly from that of the Han Chinese with their agriculture-based economy, highlighting the unique art and culture of these nomadic groups.

    Starting from the seventeenth century, the Manchu people in China's northeast expanded their territorial control west and south to establish the "Great Qing Empire." As dynastic rulers, the Manchu never gave up their ambition of playing a dominating role among tribes on the northern steppes, at the same time actively maintaining control of Tibetan peoples in the Kham-Tibetan plateau of the southwest. In addition to military conquest and political rule, the Qing dynasty also used marital alliances, religious beliefs, and tributary relations to extend and maintain its governance, hold various peoples together, and consolidate its authority.

    This special exhibition focuses on artifacts related to imperial authority of the Qing dynasty and its interaction with Mongolian, Muslim, and Tibetan peoples. From the perspectives of material culture and anthropology, it explains the features of these groups and, at the same time, the unique characteristics and cultural contents of their art forms. 

    Exhibition Package Content

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    Splendid Accessories of Nomadic Peoples: Mongolian, Muslim, and Tibetan Artifacts of the Qing Dynasty from the Museum Collection_1

    • Dates: 2017/03/31~2018/08/20
    • Gallery: Exhibition Area I 303
    CC BY 4.0

    Exhibit

    The Mongolian, Tibetan, and western Muslim territories of China are located in the central part of the Eurasian continent and geographically consist mostly of plateaus and basins. With its northern latitude and high terrain, the cold climate of the area yields unpredictable rainfall. Except for settlements along river valleys and oases, a nomadic economy has traditionally governed the way of life there. The inhabitants of this region are ethnically diverse as well, being mostly comprised of Mongolian, Uyghur, and Tibetan peoples. In terms of geography, religion, and history, their lifestyle therefore differs greatly from that of the Han Chinese with their agriculture-based economy, highlighting the unique art and culture of these nomadic groups.

    Starting from the seventeenth century, the Manchu people in China's northeast expanded their territorial control west and south to establish the "Great Qing Empire." As dynastic rulers, the Manchu never gave up their ambition of playing a dominating role among tribes on the northern steppes, at the same time actively maintaining control of Tibetan peoples in the Kham-Tibetan plateau of the southwest. In addition to military conquest and political rule, the Qing dynasty also used marital alliances, religious beliefs, and tributary relations to extend and maintain its governance, hold various peoples together, and consolidate its authority.

    This special exhibition focuses on artifacts related to imperial authority of the Qing dynasty and its interaction with Mongolian, Muslim, and Tibetan peoples. From the perspectives of material culture and anthropology, it explains the features of these groups and, at the same time, the unique characteristics and cultural contents of their art forms.

    The Mongolian, Tibetan, and western Muslim territories of China are located in the central part of the Eurasian continent and geographically consist mostly of plateaus and basins. With its northern latitude and high terrain, the cold climate of the area yields unpredictable rainfall. Except for settlements along river valleys and oases, a nomadic economy has traditionally governed the way of life there. The inhabitants of this region are ethnically diverse as well, being mostly comprised of Mongolian, Uyghur, and Tibetan peoples. In terms of geography, religion, and history, their lifestyle therefore differs greatly from that of the Han Chinese with their agriculture-based economy, highlighting the unique art and culture of these nomadic groups.

    Starting from the seventeenth century, the Manchu people in China's northeast expanded their territorial control west and south to establish the "Great Qing Empire." As dynastic rulers, the Manchu never gave up their ambition of playing a dominating role among tribes on the northern steppes, at the same time actively maintaining control of Tibetan peoples in the Kham-Tibetan plateau of the southwest. In addition to military conquest and political rule, the Qing dynasty also used marital alliances, religious beliefs, and tributary relations to extend and maintain its governance, hold various peoples together, and consolidate its authority.

    This special exhibition focuses on artifacts related to imperial authority of the Qing dynasty and its interaction with Mongolian, Muslim, and Tibetan peoples. From the perspectives of material culture and anthropology, it explains the features of these groups and, at the same time, the unique characteristics and cultural contents of their art forms.

    Exhibition Package Content

Last Update: 2017-09-20