Li Mei-shu was born into a well-to-do family in Sanhsia, Taipei County. Since childhood he showed great enthusiasm for artisans' skillful brushstrokes and technical engravings in Sanhsia Tsu Shih Temple. Inspired by the crafts, he began his odyssey in art. Due to his love to his hometown and traditional culture, he has dedicated nearly 70 years of his life to painting, not to mention his endeavors in contributing to the maintenance and repair of the assets in Sanhsia Tsu Shih Temple. Of course, his contributions have already earned him a place in history.

In 1928, inspired and recommended by Kinichiro Ishikawa, Li Mei-shu furthered his study in Japan. During his preparatory year in Japan, he was diligent in practicing the skills of sketching. In the next year, as he wanted, he entered the Tokyo Fine Arts School. During his study in Japan, fortunately, he was taught by great teachers and accompanied by good friends; he studied under the supervision of Yoshimatsu Yoshimura and Mango Kobayashi respectively. Further, he learned to paint characters with realistic style with Saburosuke Okada, and he was also influenced by the Fauvist style of Takeji Fujishima's paintings. Concerning relationships with other fellow artists, famous Japanese painters such as Ryuzaburo Umehara and Toho Shiozuki were close friends and good teachers of Li Mei-shu. With his endeavor, he laid a solid foundation for his realistic paintings. Returning to Taiwan, he formed Taiyang Fine Arts Association with other painters, such as Chen Cheng-po, Liao Chi-chun, Yen Shui-lung, and Yang San-lang, who had studied in Japan before. They helped promoting the development of fine art in Taiwan, with great achievements.

In Li Mei-shu's painting, his portrayal of characters shows to have the style of unique simplicity. With pompous colors and detailed depiction, he is skillful in capturing the farmers' leisure time. Getting close to the atmosphere of the times, he substantiates local concern with his effort. In 1934, when he returned to Taiwan after graduating from the Tokyo Fine Arts School, his Woman Peeling Sweet Potatoes earned the honor of being purchased by the Governor-General Hall in the 8th Taiwan Exhibition. In 1935, The Resting Lady won the First Prize Special Award and Taiwan Governor-General Award in the Taiwan Exhibition again. In 1936, his Lady, Evening, also a portrayal of a character, depicts a woman sitting at dusk leisurely, brewing tea. It was short-listed in the 10th Taiwan Exhibition. In 1937, he was awarded the Taiwan-Japan Culture Award once more. These series of awards gave Li Mei-shu the highest accreditation for his paintings, especially his portrayal of his family members and his blending of Taiwanese landscape into his works.

As to the writer's understanding, Li Mei-shu always regarded his family members, house, and neighborhood as objects for his sketches. His intention was to capture his loves with paintings, replacing photographs. His love of his family members, neighborhood, etc, saturated his paintings with heartfelt emotions. Brother and Sister, painted in 1936, is likely a portrayal of his family members. The children in the painting are the scene of family reading and playing by the round table in the living room. While the sister is turning the pages, in simple and lovely countenance, she is taking care of his brother who is playing with toys beside. The white dress worn by the sister becomes the focus of the painting, matching with the background perfectly to gives infinite charm. Through the careful arranged spatial alignment, we can see that he decorate a well-to-do family, blended with domestic Chinese and Western styles. The purple tassel of the tablecloth is matched seamlessly with the yellow porcelain plate hanging on the left wall with red strings, giving a lively scene. In the middle of the background, the pine and crane picture is the emblem of good fortune in Chinese culture, reflecting the cultural level of the family. The plaster bust, Western style clock bell, vase, etc on the bamboo table symbolize the host of the family is a painter by profession. Further, the wooden buckets on both sides of the table are vessels for collecting household items.

Brother and Sister appeared in the Heritage International auction in 1996. Later, as Li's painting is vivid and lively, with a simple and lovely style, it was said that people used it as the picture on hand bags back then, making it quite a fashion. The painter's first son, Mr. Li Chin-yang verified this painting personally in 1999; he certified it is as his father's own painting.

The painter's first son, Mr. Li Chin-yang, is now an elderly person at over 70 years of age. In the past, he attempted to follow his father's footsteps to promote and arouse concern for the maintenance of Sanhsia Tsu Shih Temple. He and his brothers and sisters endeavored to promote his father's art by establishing a memorial gallery. Now, their wish is fulfilled. In 1900, the Li Mei-shu Memorial Gallery began its preparatory process and it was completed in 1995. In 2001, the National Palace Museum hosted Portraits of the Land and People: A Centennial Exhibition in Commemoration of Li Mei-shu. While thinking of this, we cannot help but believe that these paintings that record the bits and pieces of the painters life some 70 years ago are worthy of collecting.

References:

Wang Ching-tai, ed. Taiwan Fine Arts Series 5: Li Mei-shu. Taipei: Artist Publishing Co., 1992
Su Cheng-ming, ed. Portraits of the Land and People: A Centennial Exhibition in Commemoration of Li Mei-shu. Taipei: National Palace Museum and Li Mei-shu Memorial Gallery Foundation, 2001