“The charm of exotic goods is potent in our own times,” writes Edward Schafer at the beginning of The Golden Peaches of Samarkand. Struck by this resonance, Wang Mansheng jotted down the phrase “Golden Peaches” across the Business section of The New York Times, suggesting that the allure of commodities so powerful in the Tang dynasty remains just as alive in today’s capitalist society. This satirical and inventive choice of medium expands Shufa beyond its traditional role of meaning-making, demonstrating its expressive potential when applied to contemporary concerns.

To capture the glitter of consumer culture, Wang departs slightly from his usual archaic restraint. His brush lends the golden peaches tilted postures and swirling turns, transforming the characters into a whirling dancer draped in flamboyant costume. Through these strokes, viewers are invited to imagine both the sumptuous materiality of the Tang court and its reflection in a modern world still driven by the same desires.

薛爱华（Edward Schafer）以“在当下，舶来品对人们有强烈的吸引力”一句为他的著作《撒马尔罕的金桃》开篇。王满晟读到了这句的强烈回响，遂在《纽约时报》的商务板块写下“金桃”二字，以示古代商品欲望在当代资本主义社会仍然盛行。这一颇具讽刺意味又富有创新的用纸拓宽了传统书法媒介的表意能力，证明其表现力在当代题材中仍能舒展自如。

为了阐释商品社会的奢靡，王满晟稍稍游离他笔法的沉静古朴，赋予他的金桃倾昃之姿、婉转之势，字也化为胡旋舞者，引领观者迈入“风吹仙袂飘飖举，犹似霓裳羽衣舞”之盛唐浮华诗境，并映射出一幅泱泱大众垂涎物质的当代图景。