This volume offers a broad and interdisciplinary exploration of the aesthetic dimensions and expressive richness of Chinese writing, spanning from the first attestations of sign-making to modern attempts of integrating innovative art forms. Moving beyond the conventional aesthetic categories of shufa, commonly translated as “Chinese calligraphy”, it proposes a novel approach for understanding the aesthetics of Sino-writing, an inclusive term for writing systems that have adopted and adapted Chinese characters. This approach reconsiders aesthetics as a process grounded in bodily experiences and shaped by cultural context. The contributors highlight how function, aesthetics, and artistic status of writing in China have responded to and conceptually transformed with shifts in media, materiality, and cultural meaning. They examine the transformation of character forms, stylistic variations, and spatial arrangements, as well as scribal techniques and gestures and in the interconnection between calligraphy and other art forms across historical periods. Evidence is taken from graphic productions from the Late Neolithic and Bronze Age, inscriptions on bones, characters brushed on paper or silk, performances in urban spaces, and calligraphic experiments in digital visual art forms. Contributions from experts in aesthetics, philosophy, psychology, art history, and both ancient writing and contemporary calligraphy open a novel, interdisciplinary dialogue on the Chinese art of writing. This makes it an essential read not only for scholars of Chinese studies but also for those interested in global art, culture, and the embodied experience of visual language.

This volume offers a broad and interdisciplinary exploration of the aesthetic dimensions and expressive richness of Chinese writing, spanning from the first attestations of sign-making to modern attempts of integrating innovative art forms. Moving beyond the conventional aesthetic categories of shufa, commonly translated as “Chinese calligraphy”, it proposes a novel approach for understanding the aesthetics of Sino-writing, an inclusive term for writing systems that have adopted and adapted Chinese characters. This approach reconsiders aesthetics as a process grounded in bodily experiences and shaped by cultural context. The contributors highlight how function, aesthetics, and artistic status of writing in China have responded to and conceptually transformed with shifts in media, materiality, and cultural meaning. They examine the transformation of character forms, stylistic variations, and spatial arrangements, as well as scribal techniques and gestures and in the interconnection between calligraphy and other art forms across historical periods. Evidence is taken from graphic productions from the Late Neolithic and Bronze Age, inscriptions on bones, characters brushed on paper or silk, performances in urban spaces, and calligraphic experiments in digital visual art forms. Contributions from experts in aesthetics, philosophy, psychology, art history, and both ancient writing and contemporary calligraphy open a novel, interdisciplinary dialogue on the Chinese art of writing. This makes it an essential read not only for scholars of Chinese studies but also for those interested in global art, culture, and the embodied experience of visual language.