本文試以康丁斯基的抽象繪畫理論，探討李伯元1992年至2005年繪畫作品中的繪畫性，透過康丁斯基對繪畫三元素「點」、「線」、「面」的定義與分析，闡述李伯元畫作中繪畫元素的特性與表現的意涵，並藉用康氏對「色彩」與「形」的概念，呼應李伯元對「色彩」的感受與其對「形」象所賦予的喻意，創造一種專屬他個人的繪畫語彙。
康丁斯基認為由於「內在需要」，產生解放藝術家內在的聲音，它是一股無法壓抑的精神力量，所以當觀者觀看抽象畫作時，這些破壞客體外在的「形」和「色彩」，不能被認為是不完美或不明確的視覺資訊，而是畫家內涵的外現。畫家將所體悟到事物或人物的另一番理解，隱喻地呈現出來的內在經驗與其精神性。習佛多年的李伯元刻意抽離事物外在自然形貌與顏色，並以主觀方式呈現某時代、人物或事件不變的內在質量，呈展的畫作不再只是模仿客體世界外在的表象，而是反映藝術家內心的聲音與精神性。再者，李伯元認為專注作畫即是修道，他以隨性、偶然、無目的性的態度作畫，將修行的精神展現出抽象的形，體現童趣與禪意的內涵，期望觀其畫者能「歇下狂心」、「放下」凡俗之見，達到「自性自悟」、「無彼此」的大同境界。

This paper, through Kandinsky’s Theory of Abstract Painting, explores the pictoriality in Li Po-Yen’s work during the period of 1992-2005. It uses Kandinsky’s definition and analysis of point, line, and plane to expound the color characteristics and the expression’s implicit meanings in Li’s works. Through mapping how Li feels about color and the symbolism he assigns to objects to Kandinsky’s concept of color and shape, a set of painting vocabularies that uniquely belongs to Li – is created.
Kandinsky believes that the “internal needs” free artist’s internal voices. This voice is a formidable spiritual power; consequently, as an observer looking at abstract works, those destructions on external shapes and colors should not be regarded as “imperfect” or “unclear” visual information – instead, should be treated as an artist’s attempt to express the implicit inner self. Artists metaphorically transform the enlightenment and insights gained from contemplated experiences with the subject matters into expressive works stressing these artifacts’ internal experience and spirituality. Being a long-time Buddhist, Li deliberately distances from the external shapes, forms, and colors of the subject matter, and subjectively displays the unchanging internal substances of the relevant time, people, and events. His works are no longer only an imitation of the explicit externality of the objective world, but a reflection of the voices and spirituality of the internality of the artist’s subjective self. Furthermore, Li believes that the concentration in the process of painting in itself is a cultivation of spirituality, and he applies a free-will/free-form, incidental, and goalless approach to the painting process, displaying an abstract form of such spiritual cultivation with a content that is full of child-like and Zen-like, in hope that his audiences would “cease thoughts that run wild” and “let go” perspectives of a materialistic world, and arrive at the One World of “knowing yourself as the salvation and a Buddha” and “we are one.”