本文主要是從全球化的框架下，藝術風格、觀念出現「文化雜化」（Cultural hybridity）的現象來介入文化傳統性的議題，在其演繹的過程中，「陰性書寫」（L'ecriture Feminine）的隱微感知再現於當今文化脈絡下的可能性；另一方面，環圍於當代藝術多元視角的場域中，藝術價值試圖放入後現代主義方法學的解構論、符號學及中西方美學……企圖撥正長期以陰柔氣質為次，陽剛氣質為優之兩者包裹在一起的意識型態；同時透過不同視角下的指涉意涵，試圖讓陰柔氣質於水墨創作此一領域，呈現出更為豐富的審美架構。最後，提出在台灣藝術生態百花齊放的今天，若觀看的視角仍是：水墨與傳統畫上等號，當代與西方水乳交融，水墨藝術是否將永遠歪斜於當代的邊緣。個人相信：只有當陰柔氣質與當代水墨不囿於傳統的定義之際，水墨藝術方有可能自在地與當代對話；陰柔隱微的美學氣質，也才能作為繪畫創作中重要的價值表徵之一。

In conclusion, the study wants to point out a problematic viewpoint. In the diversified artistic environment of Taiwan, if our viewpoint still rests on erroneous equalities, such as ”ink painting equals to the traditional” or ”western-styled equals to contemporary,” it is possible for the art of ink painting to be banished forever to the border of the contemporary. It is the author's belief that, for the art of ink painting to have free exchange with the contemporary, the concepts of L'ecriture Feminine and contemporary ink painting must not be confined to the traditional definitions. It is only on this condition that the hidden feminine aesthetics can serves as crucial evaluation for creative works of painting. This study examines the phenomenon of cultural hybridity within artistic styles and conceptions under the frame of globalization. Through this examination, this study engages the issues of cultural tradition, and taps into the possibility of resurrecting the creative awareness of ”feminine aesthetic appreciation” within the contemporary cultural context. From another perspective, within the diversified fields that surround the contemporary art, the artistic value is attempting to absorb postmodern methodologies such as deconstructionism and semiotics, as well as Chinese and Western aesthetics. Through the delineation of this theoretic influence, the study attempt to point out the ideology that places the masculinity over femininity. At the same time, this study examines the signification under different perspectives to endow feminine creative ink painting with a richer aesthetic structure.