Born in Guangdong and raised in Hong Kong, Fung Ming Chip has devoted decades to the practice of shufa, the art of Chinese writing. Beyond mastering traditional forms, he has invented over one hundred experimental scripts, exploring how time can be embedded within the act of writing and how writing itself can be read as duration.

In this work, the character “Chan” is first written in pale ink, alongside its mirrored counterpart. Before the surface fully dries, a layer of dark ink is brushed across the lower half of the paper. The water alters the paper’s absorbency, allowing the earlier strokes to re-emerge beneath the darker field, their edges softly diffused. The dense ink settles like a still body of water, while the drying brushmarks expand outward like ripples.

Through this interplay of concealment and revelation, firmness and fluidity, Fung transforms calligraphy into a meditative field. The mirrored character and wave-like forms suggest not only reflection but also infinite extension, embodying his lived understanding of Chan as both stillness and unfolding.

冯明秋生于广东，在香港与美国成长，数十年来潜心于书法的实践。在精通传统书体的基础上，他发明了一百余种实验性书法，探索时间如何在书写过程中被嵌入，以及书写本身如何被解读为一种持续的进程。

在这件作品中，“禅”字先以淡墨书写，并与其镜像并列。在纸面尚未完全干透时，一层浓墨刷过纸张的下半部分。水分改变了纸张的吸墨性，使早先的笔触在深色墨迹下方重新浮现，边缘柔散。浓墨沉静如止水，渐干的笔痕向外扩展，仿若涟漪。
在隐与显、刚与柔的相互映衬中，冯明秋将书法转化为一片冥想的场域。镜像的字形与波动的痕迹，不仅映照出反射的意象，也暗示着无限的延展，体现了他对“禅”既是静定亦是流动的生命体悟。