By the mid-1990s, Wang had been constantly “breaking away from calligraphy’s traditional readability as a literary text, creating a provocative series of abstract calligraphic images.” He began experimenting with a variety of writing implements and applied them on unconventional surfaces. In this particular piece, he inscribes a passage from the Preface of the Orchid Pavilion, a calligraphic masterpiece by renowned calligrapher Wang Xizhi (266–420), using silver felt markers on black construction paper. Despite its experimental and abstract nature, Wang’s calligraphy continues to showcase his powerful bimo (ink and brush). The use of cursive script throughout the composition infuses the piece with an expressive energy, making the strokes feel like musical notes dancing across the paper. This period marks the beginning of Wang’s abstract calligraphy, a style that later evolved to become more colorful and painterly in composition, blending the boundaries between calligraphy and painting.