Abstract

Chinese traditional characters share with Peirce’s existential graphs the fact of being endowed with an object-language that they describe through a nonlinear syntax and in an iconic way. Here iconicity is not restricted to images and perceptive similarity since diagrams and graphic metaphors are iconic too. The graphs are shown to be a borderland between Western traditional logic and Chinese traditional writing and culture, so the écart (Jullien’s concept for cultural distance) between characters and graphs is preserved even though graphs break with the Western prejudice in favor of conventionality at the expense of iconicity in logical systems. The take-home lesson for the study of writing systems is to substitute the orality-writing duality with the interplay among orality, writing, and pictures thus shifting from a linguistic typology to a semiotic one.