When Brice Marden saw the "Masters of Japanese Calligraphy" exhibition at New York's Asia Society in 1984, he was so captivated by the beauty and authority of the work, by the living energy of the drawn lines, that he kept a copy of the catalogue with him wherever he went. For the first time, he saw calligraphy as drawing. And drawing for Marden—like calligraphy for the Japanese and Chinese—is "the most direct form of all artistic expression." Long a believer that art is a form of spiritual communication, Marden felt an affinity with this work, which evolved in a kind of inspired state. In fact, the Chinese expression for a piece of Zen calligraphy is "heart print."