Copy from the Chun-hua Model Books
Liu Yung (1720-1804), Ching Dynasty
Hanging scroll, ink on silk, 169cm x 77.1cm

Huang Ting-chien's Verse on Narcissi
in Running Script
Liu Yung (1720-1804), Ching Dynasty
Hanging scroll, ink on paper, 114cm x 51cm

The Great Learning in Small Standard Script
Liu Yung (1720-1804), Ching Dynasty
Album leaf, ink on paper, 24.6cm x 32.4cm

The Calligraphy of Liu Yung (1720-1804)
Galleries: 202, 212
2002/04/01 - 2002/06/25

The Ch'ing dynasty (1644-1911) represented one of several peaks in the history of Chinese calligraphy, when the field as a whole expanded considerably. Innovations not only appeared in seal and clerical scripts, but many talented calligraphers also created new manners in standard, running, and cursive scripts for a rich tapestry in this art form. This special exhibition focuses on the achievements of the Ch'ing calligrapher Liu Yung, who was known for his standard, running, and cursive scripts. His archaic yet elegant classicism in brush and ink as well as his easy-going yet dignified manner reveals the considerable cultivation of Ch'ing dynasty calligraphy.

Liu Yung, who went by the style name Ch'ung-ju and the sobriquet Shih-an, was a native of Chu-ch'eng in Shantung province. His father Liu T'ung-hsun (1699-1773) came to serve the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary for his exceptional talent and skill. Under the influence of his father's scholarship and position at court, Liu Yung entered officialdom through the civil service examinations and was both diligent and upright in his duties. He eventually also went on to serve as grand secretary. In 1797, though advanced in age, he was still respected at court with his appointment as Academician of the T'i-jen Hall. In time remaining from official matters, Liu Yung enjoyed studying, writing calligraphy, and composing poetry. He dedicated himself to both the Confucian principle of devotion to one's country and the Buddhist-Taoist philosophies of life. He also spent a lifetime practicing calligraphy, becoming an astute connoisseur and a master of model book studies.

In his early years, Liu Yung learned calligraphy from his father, starting with the styles of the great Yuan and Ming calligraphers Chao Meng-fu (1254-1322) and Tung Ch'i-ch'ang (1555-1636). At this time, the precise and ornamental "Academy Style" was still favored in the civil service examinations. Though Liu Yung was also a master in this manner, he was not confined by it. Rather, he took it further by studying the style of Tung Ch'i-ch'ang. In addition, by copying the ancients, he was able to trace the evolution of a style back to the source. Consequently, judging from Liu's surviving works, he apparently was inspired by classic models from the Han, Chin, T'ang, and Sung dynasties. He particularly imitated the manners of Chung Yu, Wang Hsi-chih and Wang Hsien-chih, Chih-yung, and Yen Chen-ch'ing, and he was also influenced by those of Su Shih and Tung Ch'i-ch'ang. His brushwork in all its manifestations came to have an exceptional sense of naturalness and refinement.

Liu Yung excelled at concealing the tip of the brush and at using rounded strokes. His thick and thin strokes harmonize the relationship between brushwork and background (solid and void) to yield a variety of visual changes to the ink. In fact, Ch'ing critics praised Liu Yung's all-around accomplishments in "combining model book studies". Not surprisingly, thus, Liu's broad and dignified manner became a model for later calligraphers. With this exhibition, the National Palace Museum hopes that visitors will gain a sense of Liu Yung's breadth and learning, which characterizes much of Ch'ing dynasty calligraphy.