書法的發展到了當代，呈現一種本質分離的奇特現象，在書法介入藝術性價值判斷的時候，十分明顯受到當代多元紛雜的現象所影響，於是誘發很多轉向當代藝術特質的實驗性作品，企圖重新觸探書法的新可能。這種觸探的途徑，本質上與傳統書法的要求有較大的不同，表述的語境企圖更貼近當代藝術的語境;就整個書法發展史的軸線來說，呈現一種大角度的偏轉，於是本文稱之為「轉進」，並視為是數千年來書法發展最為特殊的一個現象。書法轉向當代藝術借鑑時一定程度的須解開傳統長年以來的桎梏，弔詭的是文字的辨識，書寫的善用、媒材的理解都必須重新加以深刻體察各種元素的不可取代性，藉此應用為書法創作的特質時才不會囿限在絕對二分的窘境，壓抑了書法可以表現的質地，雖然書法的未來還是難以蠡測，但是採取開放的態度，積極跨域學習，累積當代具實驗性作品更豐厚的質量，未來才能有揀選出優質典範的基礎，漸次確立書法與當代藝術間若即若離的曖昧關係。本文選取了中國、日本和台灣具代表性的書法流派與展覽作為書法藝術在轉進當代時的參照，藉此說明書法藝術的變化以及在貼近當代藝術下所產生的語境和話題，解釋書法落實為當代存在的價值，或許正可成為突破書法發展困境的觸媒。

As Chinese calligraphy moves into today's world, it is interestingly di-vorcing itself from its original nature. Calligraphy is clearly being affected by the multi-dimensional culture of our time, which has set off many experi-ments in the exploration of new possibilities for this traditional art.These experimental works attempt to align themselves with contemporary art, and they essentially deviate from traditional calligraphy. Set against the long history of Chinese calligraphy,this recent development is a radical change, unique in calligraphic history.It is this authour's opinion that, while it is necessary to break age-old constraints, the distinct forms and materials of calligraphy should be ac-knowledged and used in adapting to the new era. By examining calligraphic schools and exhibitions in China, Japan, and Taiwan in recent years, this paper intends to illuminate how the art of calligraphy is transforming itself in the present-day world.