This series signals a shift from an engagement with universal physical order toward an investigation of iconographic history. The figures of dragons, phoenixes, and qilin in Tai’s work derive from visual and textual sources such as The Classic of Mountains and Seas (Shan Hai Jing), as well as auspicious imagery found in Han dynasty stone reliefs and lacquer painting. Tai extracts these historically embedded motifs from their original ritualistic, narrative, or decorative contexts and rearticulates them within his own landscape structures constructed through ink and nebula-like spatial fields. This process does not constitute a revivalist return to ancient imagery; rather, it represents a critical and generative reconfiguration in which traditional symbols are activated within a contemporary pictorial system, pointing toward questions of temporality, transcendence, and the afterlife of images.