This article examines the non-textual communicative functions of mokkan 木簡 (wooden inscribed documents) in early Korean writing culture, framing them not merely as textual carriers but as objects which material and aesthetic properties played a central role in meaning-making. While existing scholarship often prioritizes deciphering textual content, this study emphasizes the visual, tactile, and contextual dimensions of mokkan—including their shape, size, texture, inscription method, and spatial orientation—as active agents in the adaptation of Sinographic writing. It argues that wood’s pliability enabled a culture of writing deeply intertwined with experimentation and sensory engagement. From notation tags and practice multi-surfaced rods to carved amulets, mokkan embodied social, religious, and administrative functions beyond the semantic meaning of the script. By situating mokkan within broader East Asian material traditions, the article lays out a preliminary groundwork that underscores the importance of medium-specific aesthetics and tactile interactions in the formation of early Korean literacy and textual culture, revealing how writing was experienced as both a visual and bodily practice.