If we disregard traditional calligraphers, Hou Chun-Ming could be considered the artist whose works engage most pervasive writing. Even from his youth, he has tried to super-imposed writing onto his paintings. Since then, writing has become a crucial inaugural stage of his artistic projects. From the very beginning, Hou has kept systematic records of his writings, comprising the drafting process, working notes, and reminders. Writings are often interlaced with drawings. On the eve of his 40th birthday, he was confronted with an emotional and personal crisis. From then on, we see a divorce between writing and drawing, perhaps in order to clear a way out of the crisis. He then participated in a writing workshop with therapeutic function and started practicing automatic writing, meditation and experimenting with making Mandalas without the accompaniment of writing. All these activities become important parts of his creative projects. In recent years, he has devoted more time and energy to writing, or, looked at it from another perspective, on turning writing into figures. By means of this experiment, he wishes to further explore the potential of writing in terms of digital media. I am of the opinion that Hou is able to learn from his engagements with writing in the several stages of his creative/genetic process and he is then able to apply in his many works the ideas and aesthetic lessons he learned. All of the stages of this genetic process possess their unique significance. Owing to this understanding, a genetic study of his working process will enable us to analyze how he turns the temporal process into pictorial space, and thereby creating a uniqueness in diversity or vice versa.