″Graphemics″ is the study and analysis of a writing system in terms of graphemes. In this paper it refers to all parts of a page, including the whole text, characters, arrangement, spacing, margin, layout, graphics, color, and so on. In general written language, the written (printed) form of the text is often unnoticed, but in literary language, it sometimes can play a subtle role in giving rise to a unique aesthetic effect. Moreover, Chinese characters are ideograms, which are completely different from Western scripts. For the above reasons, the aesthetic function of Chinese characters deserves further exploration. The charm of Chinese characters is generally considered to come from their pictographic nature. Ezra Pound, who first publicized and put to use the aesthetic function of Chinese characters, held this view. Ernest Fenollosa believed that Chinese characters are composed of pictographic patterns and that the structure of the Chinese characters would enrich the meaning of an entire poem. Yet the view that most scholars adhere to, attributing the poetic expression of Chinese characters to the pictographic nature of Chinese characters, is actually wrong. There are only around 300 high-frequency single characters in Chinese that are a visual combination of character and meaning. The parts of the characters very reguarlyconstruct ″pictophonetic″ characters and ″associative compound″ characters. With the repetition and change of visual markers, the user's experiences, sensations, feelings, emotions, and thoughts are accumulated in his mind. More than 95 percent of Chinese ″pictophonetic″ characters and ″associative compound″ characters visually combine the meanings of single component characters that constantly accumulate in the readers' memories and experiences through frequent repetition. The memories and experiences of the 300 visual markers (the single characters) and their combined associations (the global system) stand in stark contrast to the view that phonetic words are understood through auditory impressions. The biggest difference between Chinese and Western languages is that Chinese lacks grammatical morphology. For this reason, the words in a Chinese sentence can be disassembled and rearranged very freely. The extreme freedom of ″image juxtaposition″ that is free from logical constraints is in itself the most important means of poetic expression in Chinese. Based on the relationship between what is internal and what is external to the text, the graphemic function can be divided into four types: intra-word, inter-line, within-page, and character-form. Split of character, character homophony, acrostic, palindrome, adhesion, anadiplosis, etc., all use the graphemic structure of characters or the colocation relationship between characters to create artistic effects. When Jonathan Kahler answered the question ″What is literature″, he suggested that any sentence can be either a practical text or a literary text, but he did not make it clear how a practical text can become a literary text. The secret is that the practical text and the literary text have overlapping aspects. What does not overlap is that a literary text uses a special language structure with a single signifier corresponding to multiple references, thus proving itself a literary text, while a practical text uses a single signifier corresponding to a single meaning to achieve its practical functions. The implicit text in the overlapping part must rely on a certain context or pre-set conditions (for example, graphemes), so that people can use it as a literary text and experience its unique artistic charm.