Abstract This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms ( xing ) of successful calligraphic works are never static; rather, they should be filled with internal force ( shi ). Second, calligraphic creation can be understood as a psychosomatic process, that is, involving coordination between the mind and the hand. Third, appreciation of Chinese calligraphy is identified with the process of reconstructing the calligrapher's creation of the work, which is analogous to Richard Wollheim's identifying criticism as retrieval . The last section examines the concept of qi and discusses what kind of aesthetic considerations encourage us to make a connection between Chinese calligraphy and abstract art.