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Abstract
Li Mei-Shu ( 1902-1983 ), one of the celebrated painter in Taiwan, who took charge of a 36 yearlong rebuilt plan of Sanhsia’s Zu-shi Temple in his prime of life. Although decorative works in Zu-shi Temple were made by many great craftsmen and students of the National Taiwan Academy of Arts, but the aesthetic ideas and content in these works were led by Li’s domination profoundly. Even we can say that Li’s personal background and will are the spring of the Zu-shi Temple. Therefore, the more to discuss these works of the Academy style that Li had deeply participate, the more the meanings and the concepts of Li’s domination appear gradually, and become the core sprit of the rebuilt plan.
About these works of the Academy style in the Front Hall, Main Hall, East and West Side Halls of Zu-shi Temple, this essay is divided into three groups: the carvings based on the paintings of some famous artists of the time, the relief and sculptures were made by Li’s students. Though the formal analyses and the searches for the background of creation and influences, this study will try to provide several explains to reconstruct the motives, aesthetic concepts and some effects caused by social conditions ( including education, politics, religious culture etc.) at that time behind these works. So that we can realize the possible intentions of Li‘s plan, and as above
illustrations, to see the meanings of Li’s domination more clearly.
To sum up with, this essay talks of the meanings from three dimensions: first, as an artist, rarely and deeply, Li participated in the creation of folk, religious arts, and operated the construct of local temples with the art concepts of academy . Secondly, to the developing sculpture education of academy colleges in Taiwan, Li was a pioneer to make changes in the course that lay particular stress on Western Sculpture trainings, and to cultivate a batch of young students to create folk arts. And it also excited the transformations of folk carvings and sculptures. Finally, from the angle of religious arts, under Li’s charge, the Zu-shi Temple shows several unique materials, making, and motives that are wildly different from other temples. And thus reflects the complicate comprehensibility and vagueness of religion or belief in Taiwan exactly.
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