Among all the languages worldwide, Chinese is extremely distinctive and unique because its writing system, based on logograms, while most other languages are using alphabets and syllabaries, based on phonograms. In East Asian cultures, Chinese characters are a means not only for communication, but also for artistic demonstration. The traditional Chinese calligraphy shufa or the Japanese shodo displays the aesthetic characteristics of Chinese written form. Chinese writing exhibits various artistic qualities by its contents of composition and styles of fonts of the handwriting. As a unique writing system, the Chinese language form implies rich meanings for cultural and educational purposes. This paper aims to present an interculturally dialectical understanding and deconstruction which helps analyse and examine the taken-for-granted modes of thoughts and traditions carried by the Chinese written form. Though the western philosopher Derrida and Chinese artist Xu Bing provide inspirations just in opposite ways, the author proposes the "graphocentrism" concept marking the particularity and limitations of thoughts. It also manifests other possibilities to creative thinking, which is post-graphocentrism. In conclusion, there are two goals in this paper: the clarification of graphocentrism, and the exploration of post-graphocentrism with its implications for education, curriculum, and instruction.