本文探討日本時代和戰後的文化權力下，台灣的基層美學如何適應繪畫範型的變遷，藉以重估吳梅嶺(1897-2003)繪畫人生的角色與地位。其次，將吳梅嶺的百年繪畫人生，視為一個社會美學的實驗室。他的繪畫融合了台灣民間藝術、清代台灣中國水墨畫、日本膠彩畫和戰後台灣中國水墨畫，成為一種多文化傳輸的獨特適應範型。這個實驗室也是超級調色盤，因而他和他的弟子，會有強韌的藝術容納和變異的能力，他們的繪畫勞動和美術教育成果，才會有個別的性格。最後，本文指出：吳梅嶺繪畫人生裡的兩個關鍵概念，包括「百年勞動」和「萬事善解」，亦即永續勞動的身體和凡事善解的心靈。本文將百年勞動與萬事善解二者，視為「身心的美學」。而這種身心美學聯繫了美與善，做為美善連動的媒介。總之，吳梅嶺的百年繪畫人生，所展現的是「百年繪畫即百年勞動」的身心美學。他的百年繪畫人生，示範了一種身體力行與凡事善解的全生命繪畫。

This study investigates the changing paradigm of Taiwanese grassroots aesthetics under the cultural power during the Japanese colonial period and Postwar Taiwan in order to evaluate the role and contribution of a Taiwanese artist Wu Mei-ling (1897-2003).Wu Mei-ling’s centennial painting life is a social aesthetic laboratory which forms a unique adaptation paradigm of multicultural-transmission. His painting incorporates the folk arts and Chinese water-ink painting in Ching Taiwan, Japanese glue color painting in the Japanese colonial period, and Chinese water-ink painting in Postwar Taiwan. This laboratory can also be a color plate which guides Wu and his followers to acquire the capacity for both accommodating and embracing changes. Their efforts to art education also make them unique from other artists.The findings of this study indicates two main concepts in Wu’s painting – “lifelong working” and “deep understanding (Supratividdha).” These concepts imply the physical sustainable working and the mental Supratividdha. This study views these two concepts as aesthetics of body and mind. The aesthetics of body and mind connects the beauty and the good, and has become a media bridging the two. Overall, Wu’s centennial painting life represents the aesthetics of body and mind and suggests that “centennial painting is lifelong working.” The centennial painting life also demonstrates the praxis and Supratividdha of the lifelong painting.