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.