臺灣當代書藝發展從八○年代至今不論在理論論述上或創作實踐上均呈現如多米諾骨牌效應（Domino Effect）的震盪與影響，不僅風格異彩紛呈，論述亦頻頻激烈交鋒。因東西藝術視覺樣式的互滲，與書法產生有機的聯繫，給予傳統書法一種現代思考與表達觀念的輸入，形成西學中體的表現形式。本文主要探討台灣當代書藝採取多元媒材與類型的跨領域實踐，並舉董陽孜、徐永進、許文融三位書家及墨潮會、中華漢光書道學會、海硯會三個社團為例說明並略予評析。希冀創作者能在本位文化中尋找養分，深掘傳統文化資源，創生書法文化的當代轉換，能在全球化語境中找到發聲的位置，而非脫離本體精神，歪斜於西方文化，期許在熱鬧喧騰的展演中能產生一絲歷史的沉思與迴響。 Taiwan contemporary art development of calligraphy has been being impacted and influenced through interaction between theories and practices from the 80 's to the present and show the effect like Domino Effect. Not only the style is multivariate, the confrontational discussion is also frequent. Due to the visual styles of Eastern and Western Art infiltrate each other and get connections with calligraphy, calligraphers are given a modern thinking that fusing different types of expression. This paper mainly discusses the interdisciplinary practices in contemporary calligraphic arts in Taiwan, that adopt multiple media and styles. Will also take three calligraphers and three associations as examples to discuss and provide comments. They are Dong Yang Zi, Hsu Yung Chin, and Hsu Wun Rong; the Mochao, the Hanguang, and the Haiyan calligraphy association. I expect the calligraphic artists in Taiwan go searching for the nutrients for creation from our own culture, digging out traditional cultural resources deeply, and transform to contemporary calligraphy appropriately, to find our own niche in the context of globalization. Also expect to induce a trace of historical thoughts and echo.
