Yuyu Yang: Spirit of the Mountains
Asia Art Center has officially announced the representation of the late master Yuyu Yang estate and will present his second solo exhibition Yuyu Yang: Spirit of the Mountains at Asia Art Center (Taipei) from July 13 to September 1, 2024, following his first in 2007. This exhibition coincides with the Yingfeng Centenary 鈥� Yuyu Yang Art Exhibition at the National Museum of History, showcasing Yang鈥檚 bronze sculptures from the 1960s 鈥淐alligraphy Series鈥� and 鈥淭aroko Landscapes Series.鈥�
In 1962, Yuyu Yang reached a turning point as he left Harvest magazine and devoted himself fully to artistic creation. This period marked a transition in his work from representation to conceptual expression. Prior to this, his sculptures encompassed both abstract and realistic forms. During this time, he began the 鈥淐alligraphy Series,鈥� using the linear forms of calligraphy to create conceptual imagery that transitioned from the tangible to the intangible. These flowing and intertwining linear shapes formed spaces that emphasized the spiritual essence of the sculptures, representing a novel and groundbreaking approach.
One of Yang鈥檚 early favorite subjects was the water buffalo. By employing a new creative method to reinterpret this subject, he gave it unique significance. Unlike his earlier robust depictions, Strength uses lines to portray the water buffalo鈥檚 inner determination and stubbornness, reflecting the hardworking and diligent characteristics of the Chinese people. Endless Revolution, sculpted with wild cursive script, expresses an exuberant spirit transcending the individual self within a three-dimensional space. The freely extending lines of As You Wish blend the work鈥檚 spatial structure with its surrounding environment, creating an absolute space that expands its domain. Endless Revolution and As You Wish were exhibited in the seventh Annual Fifth Moon Group Exhibition in 1963.
During the same year, 1962, Yang was invited to serve as a research committee member at the College of Chinese Culture (now Chinese Culture University), where he began his research on the ancient Shang Period (approx. 17th century BC 鈥� 11th century BC) sculptures. He created several works in the Shang style, with the 1963 Golden Horse Award being a representative piece. Shang motifs became a significant element in his subsequent creations.
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Asia Art Center has officially announced the representation of the late master Yuyu Yang estate and will present his second solo exhibition Yuyu Yang: Spirit of the Mountains at Asia Art Center (Taipei) from July 13 to September 1, 2024, following his first in 2007. This exhibition coincides with the Yingfeng Centenary 鈥� Yuyu Yang Art Exhibition at the National Museum of History, showcasing Yang鈥檚 bronze sculptures from the 1960s 鈥淐alligraphy Series鈥� and 鈥淭aroko Landscapes Series.鈥�
In 1962, Yuyu Yang reached a turning point as he left Harvest magazine and devoted himself fully to artistic creation. This period marked a transition in his work from representation to conceptual expression. Prior to this, his sculptures encompassed both abstract and realistic forms. During this time, he began the 鈥淐alligraphy Series,鈥� using the linear forms of calligraphy to create conceptual imagery that transitioned from the tangible to the intangible. These flowing and intertwining linear shapes formed spaces that emphasized the spiritual essence of the sculptures, representing a novel and groundbreaking approach.
One of Yang鈥檚 early favorite subjects was the water buffalo. By employing a new creative method to reinterpret this subject, he gave it unique significance. Unlike his earlier robust depictions, Strength uses lines to portray the water buffalo鈥檚 inner determination and stubbornness, reflecting the hardworking and diligent characteristics of the Chinese people. Endless Revolution, sculpted with wild cursive script, expresses an exuberant spirit transcending the individual self within a three-dimensional space. The freely extending lines of As You Wish blend the work鈥檚 spatial structure with its surrounding environment, creating an absolute space that expands its domain. Endless Revolution and As You Wish were exhibited in the seventh Annual Fifth Moon Group Exhibition in 1963.
During the same year, 1962, Yang was invited to serve as a research committee member at the College of Chinese Culture (now Chinese Culture University), where he began his research on the ancient Shang Period (approx. 17th century BC 鈥� 11th century BC) sculptures. He created several works in the Shang style, with the 1963 Golden Horse Award being a representative piece. Shang motifs became a significant element in his subsequent creations.
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