Beginning in the 1990s, Fung began to experiment with processes that integrate time in shufa (Chinese calligraphy) in new ways. He builds layers of texture using washes of ink and water. For example, in this piece, he first wrote characters using pure water. Before the water completely evaporated, he applied a second layer of brushstrokes with ink. This technique caused the water-written characters to appear on top of the ink-written ones, creating a floating effect. The resulting piece makes the viewer question the sequence of writing, while also representing a passage of time. This departure from the traditional shufa practice allowed Fung to encode layers of creation into the flat surface of a static work, making the chronological sequence of his practice legible to viewers.

从1990年代开始，冯明秋开始尝试用新的方式在书法中融入时间的概念。他通过多次叠加水墨和水来建构层次。例如，在这幅作品中，他首先用水写下文字，在水还没有完全蒸发之前，他用墨叠加第二层笔触。这种技法使得用水书写的文字浮现在墨水书写的文字上方，创造出一种漂浮的效果。最终的作品使观众对书写的顺序产生疑问，同时也表现了时间的流逝。这种偏离传统书法实践的方法让冯明秋能够将多层次的创作印记到静态的纸张表面，使观众能够清晰感知艺术家创作的时序。