In his calligraphic works, Yang Tze-Yun combines the essence of the three thousand years of Chinese seal script, Chinese clerical script, regular script, and running cursive script, leaving behind the shackles of the traditional symbols and returning to the pure expression of lines. His works are rich in line expression, combining the aesthetic qualities of traditional calligraphy's “gesture” and “rhyme” with the spatial tension of large capitalist paintings, and can be said to be a perfect fusion of tradition and modernity in form. This modern form of calligraphy, which originates from traditional calligraphy but completely transcends the symbols of words, realizes its strong metaphysical pursuit. Between the random strokes, it reveals the passion of life, the interweaving of rationality and irrationality, presenting a simple yet mysterious and far-reaching inner meaning.

Yang does not cling to tradition, but approaches the essence of things. He believes that individual script styles cannot bear the weight of traditional calligraphy. Only by letting go of surface aesthetics and returning to primal writing can one understand its essence.

Yang advocates observing the world with the heart, an attitude that can reach the archetypal and achieve mutual integration. He believes the simpler the artwork, the richer the connotations. His bold use of simple lines and color blocks stems from mastery and confidence, reflecting a spiritual aesthetic born of inner cultivation.