For decades, Fung Ming Chip has expanded the language of shufa, the art of Chinese writing, through experimental scripts that explore the relationship between time, material, and perception. In Section Script, calligraphy functions as both text and image, shaped through a process that transforms the material space of writing. The composition is divided into contrasting black and white fields. In the lighter section, the characters appear through a method related to Fung’s “Transparent Script.” Using a brush dipped in water, the artist first writes onto xuan paper before washing the sheet with ink. Because the water-saturated strokes resist absorbing the ink, the characters gradually appear as pale forms against the darker ground. In the darker section, ink settles across the surface in dense washes, allowing the written forms to move between visibility and disappearance. Drawn from the Heart Sutra, the work reflects on the Buddhist concept of emptiness. As the characters emerge and recede within the surface of the paper, writing becomes a quiet meditation on presence, absence, and the passage of time.

冯明秋数十年来以实验性的书写拓展书法的边界，在时间、物质与感知之间探寻。在他的创作中，经由对书写物质空间的改造，另一种视觉语言得以生成。

《黑白心经》中。画面被划分为黑白两个对望的区域。浅色部分的字迹，来自相近的透字：先以清水书写，再以墨色通染，笔迹因拒墨而从深色纸面上浅浅浮现。深色区域则以浓墨积染，让字形在墨色中隐现。这件作品的文字取自《心经》，回应着佛教对“空”的体悟。笔迹在纸面上浮现又隐去，书写成了一场静默的冥想——关于存在，关于消逝，关于时间的流转。