The Eternal Yangtze (ch'ang-chiang wan-li t'u長江萬里圖)was Yu Ch'eng-yao's most time-consuming work. It is also the most representative of his style. The impulse that lead him to create the work quite possible stemmed from the Eternal Yangtze exhibition held by Chang Ta-ch'ien and Lu Fo-t'ing. For the mainlanders who came to Taiwan with the Nationalist government in the late 1940s, the long standoff between Taiwan and mainland China that persisted through the sixties and seventies spurred the popularity of homeland reminiscences. The focal symbol of these remembrances was the long and eternally flowing "river of ten thousand li"-the Yangtze. In The Eternal Yangtze, Yu applied his unique and personal landscape style to the depiction of a subject which he saw as a vehicle for sharing memories of home with his fellow mainlanders. Yet, upon completion, his work proved excessively unique for contemporary audiences, whose traditional tastes were affronted by what to them was a strange and peculiar image lacking the traditional cultural images that their artistic sensibilities demanded. Thus, in the end, what we find in the work is simply the reflection of one man's lonely, persona meditation on an imagined icon. By examining the historical circumstances that surrounded Yu Ch'eng-yao creation of The Eternal Yangtze, the present essay seeks to locate the work in both historical and cultural contexts.