本文說明漢「字」的書寫在發生上的可能及其條件，在此基礎上，由字形的完成及其聯想，進而舉創作實例，討論一件「書寫作品」與「文學寫作」產生互相關聯的可能，「書寫作品」的物質條件及形式可以轉化為「文學寫作」的主題，使文字的應用在抽象與具體之間可以互相轉變。字形是一段心理歷程藉書寫的物質條件及技藝加以外顯的結果，書寫字形的習得由辨識、記憶、與操作經驗而成，心理意義的欲表驅動字形的書寫，是心理意義視覺化過程的結果。文字是公共資產，個人的習得是文化傳承，一方面受社會對此文字使用的規範，一方面整體文字也在經受個人書寫所產生的變異，最大效應是各體字形的演變或時代書風，而個人書寫的變異是對已有字形的接受與抗拒，書法家是有高度自覺的從事；一般書寫者可能是受字語音義、形體相近與書寫習慣所致，字的變異直到它被整體社會文字使用所接受，從這層意義可知文字及其載體或文字所在之物質器用是思想與物質文明在認識上的重要對象，尤其是知識文化傳播上的基礎。

This paper illustrates the possibilities and conditions, in which the act of writing the Chinese character is performed. The paper focuses on the graphic configuration of the written character, addressing the process of its completion and associations it evokes, so as to exemplify and explicate the connections between ＂a written work＂ and ＂a literary writing.＂ The author contends that the material conditions of ＂a written work＂ might be transmuted into the subject of ＂a literary writing.＂ As such, the character in its application is mutually transferable between the realms of the abstract and the concrete. The graphic configuration of the character is the manifestation of a mental process rendered possible by the material conditions and techniques of writing. The acquisition of the character configuration is made by cognitive experiences, such as recognizing, memorizing, and performing. The meaning, as mentally formed, is the driving force that leads the act of writing, so that writing is the result of mental meanings visualized. The character is a form of public assets, so that individual acquisition is naturally a part of cultural heritage. On the one hand, individual acquisition is regulated by social norms; on the other hand, the writing of the character necessarily undergoes the transformation brought about by individuals. This has been shown in both the configurative evolution of the character itself and the different schools of calligraphy at different times. Thus, the transformation brought about by individual writing indicates the individual's acceptance of and resistance against the existing configuration of characters. While calligraphers are highly conscious, common writers are subject to the sound and meaning of words, their likenesses in form, or writing habits. The transformation of the character cannot be completed, until the character is normalized by its social usage. Examined from such a perspective, the character and its carrier, or the materiality by which it is manifested, are important objects of our study, which might help us to understand different thinking trends and material culture. These two account for the foundational spreading of knowledge and culture.