本文主要探討的内容為臺灣畫家黃元慶如何將西方抽象元素融合東方書法精神，闡述現代審 美意識的介入，擴大了抽象藝術的繪畫語言與表現形式。除了引用抽象藝術理論家的觀點與畫家 個人對其作品的理念說明之外，筆者透過評析黃元慶刻意佈局的造形、線條、色彩、構圖等表現 形式，試圖闡明作品所表達出來的情感或思想等内容。分別在二個子題「東方抽象融合書法概念」 與「抽象藝術的内在涵意」中，探討黃元慶10件融合書法造形的抽象繪畫作品，並且從東/西 文化交流的角度觀察抽象藝術表現形式的演變，探討抽象藝術家如何運用東方書法的字形與概念 來進行創作，其創作形式又是如何創造出融合雙方文化特色的抽象繪畫風格，與藝術家透過抽象 藝術作品所欲傳達的意念與内在涵意。

This study mainly discusses how Taiwanese artist Hwang, Yuan-Ching integrates Western abstract elements with Eastern calligraphy styles to illustrate the intervention of modern aesthetics and expand on the forms of expression and painting as a language in abstract art. In addition to referencing the perspectives of abstract art theorists and the explanations on the works by the artist himself, this study endeavors to interpret the emotions and philosophies of the works by examining Hwang, Yuan-Ching's deliberately arranged forms, lines, colors, and compositions. In the two sections “The Integration of Eastern Abstract Elements and Calligraphy” and “The Content of Abstract Art,” this study discusses ten of Hwang, Yuan-Ching's works that integrate the forms of calligraphy into abstract painting and, from the perspective of the exchange between Eastern and Western cultures, observes the change in the expression of abstract art and discusses how abstract artists use the Chinese character forms and concepts of Eastern calligraphy, how the abstract painting style that integrates the two cultures are created, and the artist's motive and philosophy behind his works of abstract art.