台灣書法，處在獨特而分離之地域中，三百多年來，迭經歷史命運之轉折，在多元文化之刺下，早已形成自我之文化特性與藝術風貌，本文謹以康灎泉、陳丁奇、李普同等數位本土書法家，作為研究對象，此因其人曾經承傳晚清、日治、國府三階段之文化影響，且人格高卓，書風獨特，足以作為探討之典型。台灣書法，一方面必須繼承中華書道文化傳統，另一方面又能開創出具有台灣自我文化特色之書法風貌；抑且，對比於中、日、韓，及其他中華文化圈，而仍能凸顯出台灣書法之文化特色；透過以上數位書家典型之探討，「台灣書法主體性」已可卓然建立。至於面對當前不同文化藝術形態，時有與書法跨界連結之現象，不妨重視多元價值，予以肯定。但是堅持書法本質內涵，落實基礎書法教育，創造優秀書作，承先啟後，發揚台灣書法之優良傳統，端視吾人今後之努力。全文分五節，除前言及結語之外，論述之重點有三，其一，略論書法本質及台灣書法發展歷史之特性，分析當前台灣書法所具有之優勢及不利因素，以便鑑往知來，知所取捨。其二，例舉戰後本土書家之代表人物，作為印證，分析其人書藝成功之緣由，及其典範意義之所在。其三，敍論台灣書法主體性建立之依據，指出時代新頁與未來展望，反省當前書法發展現況，提出具體可行之建議。

Because of the location and history of Taiwan in these three hundred years, Taiwanese have been forming their unique culture and artistic characteristics. This essay researched on some early native calligraphers as model characters such as Kang, Yan-Quan, Chen, Ding-Qi, and Li, Pu-Tong.They inherited the calligraphy tradition from their time each in late Ching-Dynasty, Japanese Colonial Times, and early KMT government in Taiwan. The uniqueness of Taiwanese calligraphy has been constructed by these Taiwanese pioneers. There are three main points in this essay. First,the author makes comments on the art essence of calligraphy and the features of the development of calligraphy in Taiwan. The author also analyzes the advantages and disadvantages factors of the development. Second, the author takes some later local calligraphers as representatives to analyze their inheritance from the pioneers. Third, the author proposes the theory basis of constructing subjectivity of Taiwan calligraphy. At last, the author reflects and proposes suggestions to the calligraphy education nowadays in Taiwan.