Li Shih-chiao was famous for his realism style in his early stage of art career. After being influenced by western modern art in 1950s, Li started to look for new aspects by infusing new modern art elements to his works before he started to work on group portraits and landscape artworks in the 1970s. After Li retired from National Taiwan Normal University, he frequently traveled between Taiwan and the US to spend time with his family and dedicate himself in sketching. Post-regional literature was becoming a trend at the time and the old artists from earlier era were regaining their spotlights. Li did not restrict his style. He infused more foreign elements and new aspects in his paintings. After Li’s retirement, he focused on researching colors, spaces and textures, which brightens up the color use in his works. In the later stage of his career, Li included stationary objects such as flowers to his themes, and created series of flower arts admired by the market. Girl and Lily, painted by Li in 1982, is one of the rarest pieces in his flower series. He unusually combined two themes, the figure and the vase of flowers, into one picture, and also added a vase pad to make a more exquisite composition. This piece of art is the classic Li’s style. The composition is rigorous and solid. The color is organized and precise. The brush strokes are thin and reasonable. The lilies in the vase each has individual postures and characteristics, but unite harmoniously as a whole. This shows Li was good at depicting individual objects while keeping the composition well-balanced. The blooming flowers in the nine-dragon vase, an icon of the emperor, shows magnificent aura. On the other hand, Li also focused on presenting stereopsis of the flowers and the vase with brilliant lighting and coloring. That makes the painting so realistic and provokes the viewers' senses of tactile. Li once stated that "Paintings should not be untouchable. If you draw Venus, you should be able to hug her in your arms". Li Shih-chiao's insights, persistence and critical thinking in painting opens a new pathway of Taiwanese art history.