書法家在經歷無數次的臨帖或創作之後，往往能有屬於自己的心得，但或許是書法以外的藝文涵養或國學根基不足，讓那些心得終歸是心得，無法成為一個指標性的論述。嚴格說來，臺靜農真正勤於書法是渡海來臺之後，然而其晚年的書藝成就卻讓人難以聯想其早年是個深受五四薰陶的現代小說家，但或許是這些特殊的經歷與其本身的藝文涵養，讓他的書風具備了難以歸類的獨特性。雖然臺靜農傳世的書論並不多，但論點卻相當深刻。本文綜合歸納臺靜農的書學論點，分為「自出新意的審美指標」、「書法創作貴逸氣」、「對主體性情的重視」、「險的審美觀」、「對書畫同源的看法」五個主題，闡述臺靜農在書法史以及書藝創作方面的觀點，並且進一步說明臺靜農何以會提出這些觀點的理由。

After numerous calligrapher creation, the often have their own ideas, but perhaps outside the arts of calligraphy is Not enough, after all those experiences, can not be an indicator of discourse. Strictly speaking, Tai Jingnong really diligent in calligraphy came to Taiwan later, however, the calligraphic achievements of his later years but people hardly think of he was influenced by the modern novelist, but perhaps the experience with these special their own art conservation, so that his calligraphy has the nondescript style unique. Although Tai Jingnong not much of calligraphy theory, but the argument is quite profound, this paper concludes that the Tai Jingnong, the calligraphy of arguments, divided into "Calligraphy History", "Elegant of Calligraphy", "Temperament of Calligraphy", "Steep of Calligraphy", "Calligraphy and Painting", five themes to explain the history of calligraphy and Tai Jingnong calligraphy creation point of view, and further explain how and why Tai Jingnong the reasons put forward these ideas.