• (The)Study of the Eastern Classic
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• no.71
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• pp.181-203
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• 2018

This study examined the structure that can explain the 'gewuzhizhi' as a medical research methodology and how to acquire knowledge from this structure. First, we derive a structure that implies the meaning of 'gewuzhizhi' shown in "Liji" and "daixue" in relation to "xueji" and "shaoyi". It is Xue- gewuzhizhi -'You(游)'. Then, we examined the purpose of the travelling Mt. Hua of Wang Lu, who was a landscape painter and medical researcher and physician and the implication of 'You' in Song Dynasty's painting theory of "Tuhua Jianwenzhi", "Linquan Gaozhi". In the course of the review, I explained the following. First, 'You' in the travelling Mt. Hua of Wang Lu and 'You' in the painting theories of Song Dynasty belongs to the structure of Xue- gewuzhizhi-'You'. Secondly, the meaning of 'gewuzhizhi' in the structure of Xue-gewuzhizhi-'You' was deepened in Song Dynasty. Third, The way in which the 'You' of the Song Dynasty's painting theory is to learn the reason of things is to observe things. Fourthly, the structure of the Xue-gewuzhizhi-'You' was practiced in the painting area in the Song Dynasty, and the field of practice was extended to the study of medicine by the landscape researcher who followed the painting theory of Song Dynasty. Fifth, through the assertion of Wang Lu's 'I take Mt. Hua as my teacher[師]', Wang Lu finds that the source of the recognition lies in nature(Mt. Hua). Through the above, 'gewuzhizhi' shown in "Liji" and "dai xue" is involved in the theory of cultivation and epistemology, and the structure of xue-gewuzhizhi- 'You' involved in epistemology and the method of recognition is found in observation. Through these investigations, I understood logically 'gewuzhizhi' as a method of medical research.

• (The)Study of the Eastern Classic
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• no.41
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• pp.445-476
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• 2010

In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.

• (The)Study of the Eastern Classic
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• no.50
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• pp.233-259
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• 2013

This study aims to identify the concept of "You(游)" as the aesthetic attitude in the Traditional Chinese Painting Theory. Traditional painting has a purpose to spread painting spirits and have consistently pursued "Xin(神, spiritual being)" as the truth of a thing. However, the contents of "spiritual being", "form" and "qi" that "describe the spiritual being" have been changed. Therefore, although the theory of form and spirit can be a way to explain chinese paintings, there is a limitation to actively explain the changes in description of spiritual being. In order to find out the basis to explain the changes of spiritual being as the truth of a thing, this study investigated the concept of "You(游)" as the attitude of the artist focusing on "experiences in painting". "Tuhua Jianwenzhi" and "Linquan Gaozhi" in the Song Dynasty adopted the attitude of "You" to explain the painting theory and proceeded exploration on things with the attitude to pursue the "truth" of a thing described in "Eye of Painting" and "KuguahuoshangHuayulu". The aesthetic values generated in the attitude of "You" refer to "qing si(情思)" and "yi si(意思)" in Song Dynasty; "gao yin zhi si (高隱之思)" in the Meng Dynasty; and the law of "one stroke(一?)" in Qing Dynasty.