Modern Art for the New Country：A Study of Li Mei-Shu''s Art Activities and Figure Paintings in Japanese Colonial Period
This study starts with the transition of Li Mei-Shu’s family at San-Xia(三峽) during the 1920s. Li’s elder brother, Liu Ching-kang(劉清港), was the local pioneer who embraced the new education system and became the first western doctor who practiced medicine in his hometown. Due to Liu, the social status of his family had changed and became influential to the locals since then .Li and his elder brother enrolled in Taiwan Sotokufu Normal School(臺灣總督府國語學校) and Taiwan Sotokufu Medical School(臺灣總督府醫學校) respectively. The alumni of these two schools were new generation of intellectuals during Japanese Colonial Period, thus had played the key roles to push the Petition of Establishment of Taiwan Council(臺灣議會設置請願運動) and New Culture Movement(新文化運動). Li often showed that he is in line with contemporary thoughts in many ways, which is the reason why he followed the footsteps of Huang Tu-shui(黃土水) and Chen Chih-chi(陳植棋) as being an intellectual to devote himself to modern art.
Li carried on unaccomplished idea of Chidao Association(赤島社) and became the primary founder of Taiyang Art Association(臺陽美術協會). Li actively involved in arts and local politics so that he could hold arts groups together without being interrupted. The social ideals of elevating public''s cultural level and cultivating local talents through modern arts were embodied in the two phases of arts activities. As cross-checking the photos from field researches and Li’s paintings, we can see that Li intentionally created the modern beauty in the figure paintings of his family and locals. Li made his figure paintings as a part of his social practices, which specified the idea of letting the “art” come into modern lives, and made it as an encouragement of expected promotion.
|Appears in Collections:||藝術史研究所|
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