The thesis is based upon Taiwanese temple painter, Li, Deng Sheng, as the central subject, which analyzes various periods of temple painting developments, as well as the heritage conditions of temple painters from the north, central and south regions of Taiwan; meanwhile, categories and subject matters of his works will be provided with detailed descriptions, including different stages of apprenticeship of Li, such as learning the craft in temples to making a living on some skill, difficulties and dilemma he suffers and learns from; as well as his self-promoting and transitions.
On the other hand, through issues of social networks and identity recognition, the balance Li attempts to obtain in practical economy, ideals and dreams, as well interactions with others will be analyzed, too. Still further, from his temple painting works, the thesis contains an attempt to provide understanding of how work pieces from current cultural crafts and their preservers would present differently from earlier times using digital collecting technologies. Nonetheless, due to differences of viewers and quests, varieties often generates between images in temple painting and classic documents. In that case, an example of portraits of Su Shi painted by Li shall be offered to both inspect and compare with historical data, as well as further analyze how Li attempted to figure the Su’s enthusiasm as a literatus, how Su interacted with Fo Yin, and a trip in the Red Cliff.
Eventually, issues like operating painted temples and heritage shall be offered, and provided with suggestion and direction for researches; it is in the hope of benefitting relevant researchers that tend to study same genre, and of expecting to deliver the concepts of cooperation between generations to accomplish the responsibilities of the temple painting heritage through offering crafting skills and experience of the former generation.